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No. 2 Spalding's Official Foot Ball 

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-j I — Spalding "Red Coves" Sekiei <>< 
Athletic Handbooei 

No. 30R 



THE ART OF 
FENCING 



BY 

REGIS and LOUIS SENAC 

OF HEW YOBS 

PROFESSIONAL CHAMP] 
OF AMERICA 



*T 






PUBLISHED BY 

AMERICAN SPORTS PUBLISHING 
CO 

21 '.. f — ' LJ ' — 



COPYRIGHT. 1915 
BY 

Ambrican Sports Publishing Company 
New York 



#6> 



j \ % 



MAY -5 im 

©CU398708 
0/ 



Spalding's Athletic Library. 




'i he I wro best known and most i apable in iti u< toi i in 
America are Regis and Louis Senac, the Parisian i perts who 
have long condui ted an academy in New Vol I- ( -iiy. Reg! ' ■• na< 
father of I ,ouis Senac, was for many years instrui tor of fen( ing in 
the French army, ili<- Boldiers ol which have won a world wide 
reputation as e q>on< tits oi the highe \\ foi m ol the foil, sword an<i 
sabre wielder's art. M. Senac < ame to tin- I Fnited States in r 
Shortly after his arrival here he won the fen< ing champion ihip of 
America in a contest held in Tammany Hall, New Fork. He 
established a fencing school in [874, which has continued to this 
day, graduates of which are leadei 1 in both amateur and pro 
sional 1 anks. 

Louis Senac, having had from an early age the benefit of his 
father's training, has developed into one oi the most formidable 
fencei 1 of modern days. He recently i ued a challenge to ili<- 
worKl for tin; international championship title, 

Many well known people have stu lied fencing under the Sena< 1, 
anion-, them being Perry Belmont, W. Gould Brokaw, Clan 
Mackay, the Iselins of yachting fame, Mrs, Paul Dana, etc, etc. 
theatricalpeople, realizing the great value of the train- 
ing derived from fencing, have also been th< ir pupils. 

In addition to his wide experiem e as an instru< toi , R< 
has also found occasion to put In . ability to moi 

purposes, in France he participated in three duels and in • 
en< ounter was vu torious, 1 .< aping without a single S( rat< h, while 
every one of Lis opponents was seriously disabled. 

'Jin- Senac fencing academy is at ;.'o. [947 Broad 
ty-fifth Street, New York, where in- 

struct both individuals and 1 las* .. J. al .<> has quai 

in the Berkeley Lyceum, in West Forty fifth Street, where be 
giveb lemons twice a v/eek. 



Spalding's Athletic Library. 




A sport for even the kingliest of kings and a science worthy of 
the closest study is fencing, and many years of popularity have 
firmly imbedded it in the hearts of thousands of people. The 
noble art of attack and defense with the foil is one of the oldest 
diversions having wide latter-day vogue, and the fact that it has 
held its own with the multitudinous pastimes of the present period 
speaks volumes in testimony of the fascinations of the play and 
clash of steel. 

Modern fencing was fathered by the swordplay of the medieval 
ages when, too often perhaps for the comfort and longevity of 
the populace, "might made right" and the life and honor of 
dashing cavaliers depended on their ability to wield the rapier or 
the sword. For purposes of pleasurable exercise and bodily train- 
ing the ponderous old-time swords gave way in after years to the 
sensitive, tapering foil with which we are all familiar. Downward 
slashes and side cuts were replaced by the thrust, and science 
made success more the fruit of art and less the reward of mere 
brute strength. 

History tells us that the first swords were used by the Greeks 
and the Romans. The weapons of that ancient epoch were clumsy 
implements of bronze, which inflicted a terrible wound. So far as 
the scientific use of the blade is concerned, however, we must look 
back to Spain, where the possibilities of the sword were first 
realized and developed. The Spaniards caused the " Song of the 
Sword" to become familiar " music" throughout their own land 
and others, and the daring dons, swarthy of mien and haughty in 
bearing, rise to heights in their deftness with the glistening steel. 



Spalding's Athletic Library. 6 

From Spain swordplay was introduced into Italy and France 
and later it spread into Germany, England and America, etc. 
The word "sword" is used in a somewhat general sense, for 
the weapons, while they may be so described, exhibited a variety 
in form. There were huge, double-bladed bars of metal which 
were swung with both hands, and their office was to crush the 
heavy plates of armor worn by warriors of the period. Also there 
were weighty pointed blades, with both edges sharpened, to be 
manceuvered with one hand, and then came the rapier, a lighter 
weapon that permitted scientific handling, etc., etc. Daggers, 
too, were considered a necessary adjunct to the accoutrement of 
the Sir Knight and to the dress of the gentleman of leisure. 

During the sixteenth and seventeenth centuries the introduc- 
tion and usage of steel weapons was one of the "striking" 
features of life. It has been said that the history of the sword is 
the history of the world, and this statement is particularly true of 
the hundred years extending from the middle of the sixteenth 
century to the middle of the seventeenth century. The popular 
weapon of the times was the Spanish-Italian rapier, with its 
accompaniments— a poniard and a buckler, a gauntlet or a cloak, 
the latter being used as a means of defence. 

The advent of the rapier brought about "the most quarrelsome 
period in history," and everywhere instructions in the handling 
of the implements of assault and protection were in demand. In 
Italy experts made fortunes in giving lessons, and duels, street 
fights and other hand-to-hand engagements multiplied with in- 
credible rapidity. It seemed that men sought to know the secrets 
of the sword and rapier science merely to demonstrate to the 
world the extent of their prowess, and which could be evidenced 
only by the spilling of blood in large quantities. 

The rapier began as a plain, cross-hilted sword. Finally it 



«, Spalding's Athletic Library. 

acquired guards u n protection to the hand, and afterward it took 
on the cup form ol handle, b) which we nov» | Seldom 

|i is than foin feet in length, extending in som< feet, 

and tapering to the sharpcsl oi points, .t deadly wound could 
easily ' e lult fi i 'in •' tin ii .1 . 

v. i he adjun< i < >\ i he i apiei . 1 1 1 « - d i 

n c< uld be used, n>>i only to parrj blow • with the 
rd, but also i>> supplemenl the attack with thai weapon, \ 
common use of the ; to give the H coup d< aftei 

the i ontest w it h the sword had been won, 

The combatants usually stripped to their shirts foi the en 
counter, and when both weapons were used the fight was sure to 
be picturesque and exciting In ili> - extreme, Among the ti 
attempted by the fighters was that ol sei Ing an opponent's 
da j :>■! by i1 • blade and v\ reaching it fi om hi 

in oi del i" pi e> >'ni this, thi i u in de with aw like 

teeth, set backward, to cut through the gloved hand of the 
swordsman and cruelly lacerate thai member, ^s a countei 
measure, fine mail was sewed into the gauntlet, protecting the 
hand, and bi th oi the ' Sometinn s, after 

the daggei had been torn from the hand ol an antagonist, 
the sv\ ord tman * ould i hi ow it into the aii v 
ii:. u it has been known to pierce and kill the opponent in its 
des* ent . 

I n ir. ol time the blade w is made shorter and deprived 

of some of its weight, With this lightei instrument came rapid 
ad\ -nu es in I 6 ol > apiei usage. The ] I and 

the lunge became established and recogni . and then 

followed the lunge, The lunge is the forward movement ol the 
body, executed bj advancing the forward footj the right, without 
displacing the real foot, The credit foi the discovery of the lungs 



Sfittldi • ■■; ' s ' '■■ ' v. 7 

Iven to diGrassi, i noted [tilitn fencing mattei oi ( i"" 

(crulli , ( Mini \. 

riir introduction oi fencing Into Italy and France resulted In 
the founding »>i two distinct schools 01 ly stems <>i attack ind 
defense. The Frem ii system Is held bo be the superloi ■'"<! si the 
present dsy i'" - Ablest exponents oi the fencing iclence sre 
Frenchmen. The French ichool calls forth all the gra< s, sgllity 
. 1 1 1 ■ I sensitiveness "i touch •> man <>■ woman Is capable ol manl 
festing. 1 1 ' ■ a - 1 ■<• "i i "ii> 1 1 .in- 1 go every moment, i he Frem h 
in. in win; by finesse, by the apotheosis <>i ikllful maneuvering! 
The Italian depends to •> great extent on the powei "i in • attai '•. 
m;; i(. beai opponents down by iheei itrength, He puts 
more force Into his thrust i snd frequently itamps in ■ forward foot 
violently and exclaims, \ n authority once saldi ' ' \ Hercules Is 
required in the making oi s successful ftallan fencer; •> woman 
in n i lit to t he top in the Fi em i> s< hool. ' 

While that statement may perhaps be overdrawn, the Idei ol 
the difference in the two lystems 1 1 well conveyed. 

Henri Saint Dldler, s fencing Instructoi In Paris In > v/". was 
< >nr t ii the leading pioneers ol the art In France. 1 1 Is generally 
believed that he gave names i" the thrusts, etc., then In the 
fencer's repertoire. A teachet aftet Saint Dldler's time, Paer, 
arranged the various parries in i lasses, five In all, prime, seconde, 
tierce, quarte ■""I qulnte. The government military establish 
m rui near Paris, the High School ol Military Gymnastics, is 
principally responsible foi the progress ol fencing In France ol 
late years. Masters-at arms are graduated from this Institution 
who are lent to instruct the men In the various regiments ol the 
Fi em ii .ii in v . 

France, Italy and Spain have long lists oi names oi fencers that 
have added to the fame ol theii countri< i. Aside from Saint 



g Spalding 's Athletic Library. 

Didier probably one of the best known of the old French experts 
was Chevalier d'Eon de Beaumont. He was born in 1728 and 
died in 1810. As a punishment for a political offense, the king 
of France, Louis XV., ordered him to wear woman's clothes, 
and as a result many people believed him to be really a woman. 
Beaumont went to London in 1763 as a plenipotentiary from the 
French court. His greatest fencing feat occurred when he met and 
defeated the then renowned Chevalier de Saint George. He 
reached the body of Saint George seven times, the latter scoring 
not even a single point. Saint George, by the way, was born at 
Guadaloupe, and was the son of a wealthy planter and a negress 
known as "La Belle Nanon." At exhibitions in London it was 
once remarked in regard to Saint George that "no professor or 
amateur ever showed so much accuracy, such strength, such 
length of lunge, and such quickness as he; his attacks were a 
perpetual series of hits; his parade was so close that it was in 
vain to attempt to touch him; in short, he was all nerve." 

Other eminent masters of the French school in bygone days 
were Boessiere, the two Bertrands and Charlemangue. 

Oldtime Italian fencers of note, who also wrote about the art, 
were Marozzo, Agrippa, Grassi, Fabris and Manciolino. Car- 
ranza and Narvaez were leaders in Spain. 

Germans showed comparatively little originality in rapier play, 
having adopted first the Italian, and then a mixture of the Italian 
and French styles, but they are held in esteem as practical swords- 
men. The Kreussler fencers, taught by one Kreussler, the 
founder of a family of twelve fencing masters, made a reputation for 
themselves all over Europe. 

From the middle of the eighteenth century fencing was regarded 
as the study of paramount importance at German universities. At 
Jena, Halle, Leipzig, Heidelberg, and, later on, at Goettingen, 




OFFERING AN OPPONENT THE CHOICE OF FOILS 
BEFORE A CONTEST- 



Spalding s Athletic Library. 17 

Hclmstadt and Siessen, duels became so common and dangerous, 
-the play being simply cut and thrust fencing-that even the 
most peaceable student was never sure of his life for a single day. 
Until about the third decade of the last century, the students 
insisted on fighting with the rapier, and on being either killed or 
dangerously wounded in an encounter. But as the German univer- 
sity fencing schools lost their importance the modern French foil 
play came into existence, while the system of fencing followed by 
the students became so specialized as to lose its true character, the 
object being simply to lacerate the opponent's head and face as much 
as possible, meanwhile protecting one's self from similar injuries. 
Constant rivalry exists between the French and Italian schools. 
Their exponents seldom if ever weary of claiming preeminence 
for their own particular method. On several occasions matches 
have been engaged in by representatives of these two countries, 
and great interest has always been attracted to them. The most 
recent important contest of this sort was held in Paris a few 
years ago, when M. Damote, a maitre d'armes of Paris, clashed 
with and was wounded by M. Athos de San Malato, an Italian 
expert of prominence. 

A careful consideration of the respective merits of the two 
schools teaches that the Italian school is, and always will be, 
inferior to the French, at least as long as the Italian fencer relies 
upon vigor and gymnastic ability instead of upon skill and agility, 
as does the Frenchman. 

The art of the fencer consists more of adroitness than of 
mere strength, and its principles have long ago been laid down 
and explained. To fence according to the Italian method a man 
must be gifted naturally with considerable bodily strength, while, 
according to French authorities, a fencer who develops his mus- 
cles abnormally will seldom excel with the foil. 



18 Spalding 's Athletic Library. 

The fact is that there are in France a great number of persons 
in the very highest ranks of society, who, while skilful fencers, 
are yet by no means remarkably strong. 

It is undoubtedly true that in most contests between Italians and 
Frenchmen, where both had an equal reputation, the French ex- 
pert won. 

For those who have studied the question the position of the 
French fencer is more to be admired than that of the Italian. 
The former is majestic, guards composedly, and is always covered; 
the Italian, on the other hand, is continually in movement, some- 
times crouching, sometimes erect, but all the time apparently 
ready to jump upon his adversary, while from his throat issue 
strange guttural sounds, which are only too apt to mislead the 
spectators into believing his attacks much more dangerous than 
they really are. Most modern French fencing masters are 
graduates from the government school of Joinville-le-Pont, 
before mentioned. Such a school does not exist in Italy, or, in 
fact, in any other country outside the French dominions. At 
this school there are ten French teachers and but one Italian. 

History tells of the celebrated Jean Louis, who, in 1814, while 
with the French army then invading Spain, killed thirteen Italian 
fencing masters in succession. 

In Shakespeare's time, fencing with rapier and dagger was a 
prime favorite among recreations, and other less peaceable pur- 
suits. We find many passages in the works of the Bard of Avon 
referring to sword play. In " Romeo and Juliet " we read : 

He tilts 
With piercing steel at bold Mercutio's breast ; 
Who, all as hot, turns deadly point to point, 
And, with a martial scorn, with one hand beats 
Cold death aside, and with the other sends 
It back to Tybalt, whose dexterity 
Retorts it. 



Spalding's Athletic Library, 19 

THE REWARDS OF FENCING. 

The fencer is always enthusiastic concerning his art, his " grande 
passion." And why is this the case ? Why does he not accept 
his fencing pleasures philosophically and continue in the even 
tenor of his way ? The truth is, that he has found something of 
great value, of undeniable fascination, and about which he believes 
all his friends and acquaintances should know. Therefore does 
he publish the tidings abroad. 

Sometimes uninitiated folk marvel at the unbounded praise 
fencing devotees shower on their favorite diversion. They stand 
aloof with a superior air and occasionally condescend to show a 
modicum of interest in the foils. 

There comes a time, however, when the supercilious one 
becomes infected by the fever. He dons fencing garb, grasps a 
foil, and makes some instructor's life one continuous round of 
labor for weeks at a time. Then one day he realizes that he is 
actually a convert tc the foils and that his enthusiasm may well 
be said to border on the fanatical. " I came to laugh and I re- 
mained to learn." he says to himself, and delves still deeper into 
the mysteries of the intricate, yet unparalleled science. 

It is through many rewards to its disciples that fencing holds 
the attention of every man and woman, even though he or she 
taste ever so sparingly of its cup of pleasure. First, the practice 
of fencing affords an exercise that is absolutely unrivaled as a 
natural aid to the highest form of physical development and edu- 
cation. (Muscles as well as brains can be educated.) Can you 
fail to recognize the fencer ? His grace and elasticity of bearing ; 
his elegance of manner ; his calm reserve, and, withal, the keenest 
of eyes ; his firm hand-clasp, literally vibrating with energy ; the 
admirable poise of his head ; his erect carriage, and his buoyant 
step set him apart from ordinary men, men of sedentary pursuits. 



20 Spalding's Athletic Library. 

The fencer is more what the Creator intended man to be, than is 
the merchant or banker who shuts himself in his private office 
from morning until night, cramping his chest and lungs, rounding 
his shoulders and breathing " second-hand " air. 

The physical benefits of fencing are so numerous, in fact, that 
he that would enumerate them in detail must needs possess a vast 
measure of endurance. Every muscle is brought into play, in- 
dividually and in combination, and the system is invigorated sur- 
prisingly. As a stimulant, a fencing bout is far more effective 
than the best tonic a physician could prescribe. So if you are a 
victim of any sort of a depressing affliction, try the fencing cure. 
After finishing with the foils, a cold bath and a rub down with a 
rough towel will chop off at least ten years from the burden Old 
Father Time has rolled upon j^ou. 

The fingers, wrists, arms, shoulders and legs are doubled in 
power by methodical fencing. This development of the muscular 
tissues, moreover, is invariably symmetrical. No huge, unsightly 
bunches of muscle stand out to impress bystanders. Lithe, agile 
and quick as a wildcat, the operator of the foil is as far removed 
from the abnormal as is the product of a sculptor's chisel. Large 
muscles, such as some few of the Italian fencers possess, for in- 
stance, retard the rapidity of movement and render impossible 
good form of even the most elementary description. In addition, 
overdeveloped muscles tire far more quickly than do those of 
average size. 

Fencing also gives a man a mental equipment superior to that 
which he originally devoted to the art. The exercise requires 
study, thought and memory. It is none the less a science for 
being a recreation. Do not deceive yourself on this point. The 
brain is prompted to act without a moment's hesitation. It must 
change perception into action instantaneously. Readiness of wit 




STRATCHTENTNC TTIK. FOI), AFTER A TOUCH. 




No. 7 THE FIRST POSITION OP "ON GUARD" (RIGHT 

HAND). 




No - SECOND POSITION <»!■' THE GUARD (RIGHT HANlo 




No 9 THIKP POSITION OF THE GUARD (RIGHT HAND). 




No. 10-FOHRTH POSITION OF THE CHARD (RIGHT HAND) 
CORRECT. 




No. 10A-FOTT-RTH POSITION OF THE CUATJD (RIGHT HANI*) 
[NCORRECT. 
[NoTE-Bhuie of foil is dropped too much from a straight hue.] 




No. 11-FTFTH POSTTTON OF THF CUARD (RIGHT HANDV 



Spalding's Athletic Library. 29 

is an unmistakable attribute of the fencer. He is as resourceful 
and as full of cunning as an Apache brave, and this is by no 
means a comparison to be sneered at. The fencer should make a 
better financier or diplomat than should a man reared along re- 
stricted lines. He should be quick to detect the weakness or 
strength of an argument or a situation and act swiftly, unerringly. 
He must do this very thing in fencing bouts. Cannot the same 
practice be transferred to business or professional life ? There is 
no apparent reason to the contrary. 

In social and everyday life the fencer has a distinct advantage 
over his narrower, disinterested, more prosaic co-laborer. He 
feels sure of himself at all times and under all conditions. His 
training has rendered it impossible for him to strike an awkward 
pose. He will unconsciously make movements that will attract 
attention through their ease. The constant use of his arms and 
hands has made him stronger than the ordinary man and the 
knowledge of this fact gives him confidence he would otherwise 
lack. In the business world he will be able to stand a great 
strain. No task will appal. The fresh blood and newly formed 
tissues will support him through many a crisis when competitors 
are exhausted and mayhap seriously ill through their efforts, 
The atmosphere of freshness and enthusiasm that he will uncon- 
sciously carry with him is certain to favorably impress the people 
with whom he comes in contact. 

Fencing knowledge has often saved a man's life, or at least 
preserved him from serious bodily injury or loss of valuables. 
Attacked by footpads in a lonely spot, the fencer is able to keep 
his assailants at a distance with nothing more than a cane and 
possibly disable them. A relative of the writer was once sur- 
prised in his home by a burglar. The intruder, a burly ruffian, 
sought to overpower the man in question by brute force. The 



so Spalding's Athletic Library, 

latter, however, seized an umbrella, and, being an expert fencer, 
resisted the rushes of his opponent and punished him so severely 
that he was unable to escape from the police. 

WOMEN AND FENCING. 

Women find the art of handling the foils to be a wonderful 
benefit in many ways. The exercise reduces surplus adipose 
tissue, making their figures trim and comely, rounds their 
muscles, develops their busts, and the stimulus to the circulation 
of the blood improves their complexions to a highly desirable 
degree. They find fencing to be as conducive to lightness of 
foot and all around gracefulness as dancing, and all the large 
fencers' clubs reserve certain hours each week for the conve- 
nience of the wives atul daughters of the members. In the New 
York Fencers' Club, for instance, an extract from the provisions 
of the House Committee reads as follows: 

"The Ladies' Class has the privileges of the Club every Mon- 
day, Wednesday and Friday morning from 10 until I o'clock. 
The Maitre d' Amies and Prevot will be in attendance to give 
lessons." 

Some of the woman fencers in this country are remaikably 
expert in execution of the various thrusts, parries and feints, and 
Miss Toupie Lowther, the well known champion of the English 
women's fencing world, is more than a match for many a man 
that considers himself a capable performer. 



Spalding's Athletic Library. 31 



HOW TO FENCE 



He that would become proficient in fencing must make up his 
mind to devote a somewhat lengthy period to study and practice. 
The intricacies of the art are such that only the determined man 
can ever hope to excel. The erratic genius, the intermittent 
dabbler, the half hearted imitation enthusiast has no place on a 
fencing floor. A competent instructor is an absolute necessity, 
one that has mastered all the ins and outs of foil wielding, and 
when obtained his words should be given serious heed. 

One of the first things you will learn will be the proper manner 
of holding the foil. You can never rise above the mediocre in 
fencing unless you are taught this point. 

HOLDING THE FOIL-SUPINATION AND 
PRONATION. 
Hold the foil with the thumb resting on the upper and broader 
side. Do not allow your thumb to come in contact with the hilt. 
Some fencers raise its tip so as to avoid receiving a jar during an 
interchange of blows or thrusts. Close the fingers firmly around 
the handle and do not let them overlap the thumb. When the 
fingers monopolize space that should be devoted to the thumb 
harmful interference results. If the foil is properly held the 
front of the thumb nail will face upwards and the nails of the 
fingers will face to your left — unless you are left handed. The 
importance of the proper holding of the foil will be realized when 
it is known that the fingers direct the course the point is to take 
and also prevent the handle from swerving in the hand. The mode 
of holding the foil which has just been described, is known as 



32 Spalding* s Athletic Library. 

supination. In addition to it there is a position termed pronation. 
A foil held in supination is shown in Photo No. I. When a foil 
is held in pronation the ringers are drawn closer together than in 
supination. The thumb comes closer to the fingers and the back 
of the hand is turned upwards. The position known as pronation 
is assumed in some attacks and parries, but supination is more 
frequently used. Do not forget, as do many superficial students 
of fencing, that the play of the wrist and the fingers is the prim- 
ary, and the manipulation of the arm the secondary, consideration 
in a bout. 

A foil held in pronation is shown in Photo No. 2. For varia- 
tions in grip see also illustrations Nos. 3, 4, 5 and 6. 

Probably every beginner finds the fencing grip and variations 
tiresome to persist in practising. But later on, when the muscles 
of the fingers and the hands become accustomed to the positions 
no inconvenience will result. 

The elementary position in fencing is " on guard." The com- 
batant takes his pose at the beginning of an engagement and from 
it moves into the general action involved in parries, attack, etc. 
In putting yourself on guard, proceed according to the poses— for 
the right hand— illustrated in Photos Nos. 7, 8, 9, 10, 11, 12 and 
13, for left hand, Nos. 14, I5> 16, 17 and 18, all of which are as 
follows : 

THE MOVEMENTS OF "ON GUARD." 

(Right Hand.) 
FIRST POSITION-/ 3 //^ No. 7. 
In the first position to be assumed in coming to "on guard " 
stand erect, facing outward toward your opponent. Hold your 
heels close together, your calves touching, if possible. Point the 
feet outward at a right angle. Extend the fingers of the left 
hand, the palm facing outwards. Hold the foil in supination in 




No 1? -SIXTH POSTTTON OF THE CTTARD (PJr.'TTT UANTfi. 




No. 13-SEVKNTH POSITION OF TTTE GUARD (RIGHT HAND). 




No. 14-FIRST POSITION OF THE GUARD a. KIT HAND). 




SECOND POSITION OF THE GUARD (LEFT HAND). 




No. ir,-TTJim> position OP THE oiiaud (LEFT HAND). 




No. 17-FOITRTTT POSTTTON OF TTTF GUARD (LEFT TTAND). 

[Note in fifth position of guard (left hand) the bodj is held in 

same position as above, ex< epl thai the arms are lowered aa in No 11, 

la aixth ^io^itioij, v.unpb U >>d .1 M. knees as m Wo I-'. J 




H POS 



I'Akli (LEFT H \.ND). 




No L9 W Ari'iNi ; r< >i: THE A.DVERS \ \:\ 



Spalding's Athletic Library. 45 

the right hand, the nails turned upwards. Straighten the right 
arm and slant it outward from the body, as in Photo No. 7. 

SECOND POSITION— /%<?/<? No. 8. 
Sweep the foil downward and point it outward from the body, 
the point almost touching the floor. Do not bend your elbow. 
The left hand, arm and feet maintain the same attitude as in the 
first position. Also keep the body erect and direct the eyes 
straight ahead. 

THIRD POSITION— /%<?/<? No. 9. 
Bring the hands together in the third position as illustrated in 
Photo No. 9. Point the foil on a straight line across the body 
to the left (it being taken for granted that you are right handed) 
and flatten the left hand on the top of the foil, the nails down- 
ward. Still keep the legs straight, the body erect and the heels 
close together with the feet at right angles to each other. 

FOURTH POSITION— Photos No. 10, 10a. 

Now bend your arms upward, close to the body, turning the left 
hand so that the nails face upward. Bend the arms in a circle 
around the head and, to preserve good form, take care to have 
each arm bent at the same distance from the side of the head. 
Point the foil to the left, resting it on the flattened back of the 
left hand. Keep the weapon in a straight line. You will detract 
materially from the merit of your performance if you drop your 
point lower than, or raise it higher than, the handle. Look to 
the front. 

FIFTH POSITION-/ 5 //^ No. 11. 

Lower the right hand to a position opposite the right breast, 
point your foil outwards, and follow the line of the foil with your 
eyes. Drop the left elbow and arch the left hand gracefully over 
the left shoulder. 



46 Spalding's Athletic Library. 

SIXTH POSITION— /%ofo No. 12. 

Bend at the knees. Do not, however, lean forward. Hold the 
right and left arm as in the fifth position. Keep the heels close 
together. 

SEVENTH POSITION -Pkoto No. 13. 

In the seventh position advance the right foot as shown in 
Photo No. 13. Do not extend the right knee beyond the line of 
the right foot. The knee should be directly over the foot. Turn 
the left foot outward a trifle, in order to preserve balance and 
grace. Keep it flat on the floor. The left knee should also turn 
outward. Hold the left hand in position over the left shoulder. 
Now you are ready to extend the right arm, to straighten and 
stiffen the left leg, and lunge. 

You are on guard (Right Hand) at the completion of these 
movements and they should be practiced so that you can execute 
them rapidly without in the least sacrificing grace and good form. 
For the positions of "on guard" with the left hand, except for the 
change of hand same as with right, see Photos Nos. 14, 15, 16, 17 
and 18. 

Another requisite for the beginner is that he learn the various 
positions leading up to an actual bout, such as awaiting an adver- 
sary, drawing the foil, saluting, etc., etc. See Photos Nos. 19, 
20, 21, 22, 23, 24 and 25. 

ADVANCE AND RETREAT. 
Following in order is the addition of the advance and retreat 
manceuvers to the fencer's repertoire. To execute the correct ad- 
vance, carry the right foot ahead a short distance with a snappy, 
decisive step, not necessarily a loud powerful stamp, as some fen- 
cers affect. Quickly follow the right with the left foot holding, 
meanwhile, the same position of the body. 



Spalding's Athletic Library, 47 

The left foot is moved back one step in the retreat which is 
naturally the opposite to advance. The right follows the left in 
this case. Advance and retreat movements have been imitated 
by the originators of the bayonet drills used in the United States 
army, with which fact Regulars and National guardsmen are prob- 
ably aware. An illustration of a lunge (of which there are many 
in this book) will show the position of a fencer in advancing. 

In advancing and retreating, care should be taken that you do 
not permit either movement to affect what is best described as 
"good form." Assuming that your pose is accurate before the 
advance or the retreat it should also be accurate after your change 
of base. Moreover, the transition should be effected with as 
much grace as possible. It may be well to add that the most 
familiar faults of the beginner are that he raises his feet too high 
in stepping or takes steps either too long or too short. Find the 
happy medium and stick to it. Always be on the alert while 
changing your position and never fail to observe exactly how the 
alteration of base has affected the momentary conditions of the 
contest. Keep your body entirely under control at all times. 

THE UNDERLYING FEATURE OF ATTACK- 
THE THRUST. 

The thrust is the fundamental element of attack in the fencer's 
repertoire. Its importance is paramount, and is in striking con- 
trast with its comparative ease of execution. 

To perform the ordinary thrust, merely lower the point of the 
foil to the point you wish to hit and straighten the arm snappily. 
Manipulate only the fingers and wrist in dropping the point. The 
principal requirements are accuracy and quickness. You must 
practice the thrust incessantly. Do not be led into careless ways 
through over-estimation of the simplicity of the movement. 



48 Spalding 's Athletic Library. 

The thrust is termed a "riposte" when your opponent can be 
reached by it alone ; that is, without the forward movement of 
any other part of the body. You will be aided in thrusting pro- 
perly by remembering two inviolate regulations. First, the arm 
must be straightened at the moment the foil strikes home and the 
point should be dropped lower than the hand. Many an other- 
wise capable fencer has ruined the technique of his art by failing 
to develop the thrust. 

THE LXJNGE-P/iotos A r os. 26, 27, 28, 28a. 

Next in order to the thrust we should consider the lunge. The 
lunge is a combination of the former stroke with a forward 
bend of the body, etc., and which is well described by its name. 
Thus, it will be seen, the thrust is a prominent feature of the lunge. 

In lunging (with the right hand) thrust, and simultaneously 
advance the right foot to say twice its length, and by straighten- 
ing the left leg, carry the body forward. Drop the left arm 
quickly to the side, turning the back of the hand inwards. 
To maintain good form hold the head erect. Do not, moreover, 
overbalance yourself by allowing your body to bend too far 
beyond the line of the right foot. Balance should be held under 
all circumstances. When you lose your balance you are com- 
pletely at the mercy of your opponent just as in boxing. You 
cannot avoid leaving an inviting opening. The lower part of the 
right leg— between the knee and the ankle— should be kept in a 
straight line (see Photo No. jo) . When you lean too far front on 
the knee you are off the proper line of balance (see photo No. 28) 
and will rind difficulty in springing swiftly back to a defensive 
position, should your adversary suddenly advance. 

Take care in lunging not to turn over the left foot on its inner 
side. You should keep the sole of this foot flat on the floor. If 



Spalding's Athletic Library. *9 

the position strains your ankle muscles at first, persevere. 
Practice will overcome this inconvenience. 



THE RECOVERY. 

At the completion of the thrust and the lunge, you must exe- 
cute the recovery. In this move you bring the right foot back 
to its original position and again bend the left knee which you 
have straightened. Elevate your left arm to a line with the left 
shoulder at the same time, arching the wrist over it as in the 
" on guard " attitude. 

The manceuvers described in the foregoing paragraphs should 
not be considered merely in the light of individual features. They 
are to be used in combination, each merging gracefully into an- 
other, and one depending on another, just as the different parts 
of a steam engine unite in their workings to produce motion. A 
fault in one piece of the locomotive's intricate mechanism nullifies 
whatever merit exists in the remaining machinery, and exactly so 
is the fencer affected by a lapse in the performance of even a 
minor branch of technique. 

Probably the tyro will be tempted to place too light a valuation 
on the movements involved in executing on guard, advance and 
retreat, the thrust, the lunge, and the recovery, etc. True, they 
may prove irksome at the start but all accomplishment with the 
foils is based on practice and to use a familiar expression, you 
must " keep everlastingly at it." If " necessity is the mother of 
invention," well directed efforts is the father of success, and 
while the writer does not claim distinction as an epigrammist, 
he is well aware of the fact that perserverance and painstaking 
development of fundamentals is absolutely necessary in the produc- 
tion of a fencer. 



M Spalding's Athletic Library. 

CONCERNING THE "GAIN." 

While speaking of combinations, we should not neglect another 

manoeuver frequently brought into play with the lunge. In the 

gain you carry the left foot to a point close to and on a line with 

the right, both knees being bent at a widely diverging angle. In 

this manner you may oftentimes mislead your opponent in his 

estimate of distance, after the fashion of crafty boxers that have 

ed the art of approaching within striking distance of their 

antagonists before the last named realize the fact. 

The gain enables you to obtain a longer reach and you can then 

Lch into hitting distance of a man without his becoming 

ant of it. In addition, he will not be able to tell the point 

from which your next attack will start. This practice is also used 

to advantage in following up a retreat. Endeavor to keep your 

balance. Do not swing from one side to the other. Invariably 

hold the right knee in its ben: . not to reveal by it to 

your adversary that you are about to d in* tactics. Seek 

to bring forward the left foot in as much of a line with the right 

tsible, for then you will disguise the movement of the former. 

A recommendation lias been made that short men use tk; 

frequently. It is suggested that thus they will in a measure be 

able to combat the handicap of their lack of stature a::. 

LINES OF ENGAGEMENT. 
The learv in fencing has caused 

sc ence is 
^ k's 
terms 
"the fines i 
the sai - ... 
'The 1: I of the 



Spalding's Athletic Library. 51 

enclng jacket which separate its face into four sections. These 
sections have particular names and attacks and parries are given 
names identifying them with the spot hit or defended. The upper 
quarters are termed the "high lines," the two beneath, the "low 
lines." In addition, the sections are divided into sides, the right 
or outside, and the left or inside. Each part of the quartered 
area is given two names, one of which, denotes, in most cases, 
whether the attack or parry is executed in pronation or in supi- 
nation. The four sections and their designations are as follows: 
Upper left side, Quarte (in supination); and Quinte (in either 
supination or pronation); upper right side, Sixte (in supination) 
and Tierce (in pronation); lower left side, Septime, or "half 
circle" (in supination) and Prime (in pronation); lower right 
side, Octave (in supination) and Seconde (in pronation). 

Prime is pronounced 
"preem"; seco?ide is 
the same excepting 
that the accent is on 
the last syllable; tierce 
is "teeairce", with 
the accent on the 
"airce"; quarte is 
"carte"; quinte is 
"cant" ; septime is 
' ' septeem , ' ' and octave 
is "octahve." 

To better illustrate 
the arrangement of the 
high and low lines the 
accompanying dia- 
gram is inserted. 




Li™* 



£i*e% 



LINES OF ENGAGEMENT. 



52 Spalding" s Athletic Library. 

As the boundaries of the different lines are but imaginary the 
various sections must of course be but approximately calculated. 
For scoring purposes, generally recognized rules have been formu- 
lated. They provide that hits, either too high or too low, shall not 
be permissible, that is, so far as they affect the official result of a 
match. The actual area in which hits count is that part of the 
front of the jacket extending from the line of the collar bone to 
the line of the hips. While hits somewhat higher or lower 
than the prescribed space do not receive full approval, they are 
recognized, however, by being recorded as "low," "high" or 
"to the right," as the case may be. 

PARRIES. 

A parry is a movement that turns away an opponent's foil point 
from the spot it is intended to hit and which may be merged into 
an attack. The reader may be of the opinion that the principles 
of attack should be given first consideration, but as parries are 
simpler we award them priority to attack in this instance. In 
relation to parries, study carefully the photos referred to later. 

The arm is subordinate in the making of parries, which to a 
greater extent are executed with the fingers and wrist. It may 
well be added that the edge of the foil, as opposed to the flat side, 
is used in all parries, which are made by tapping an opponent's 
blade lightly and quickly. The forte of the parrying blade strikes 
the adversary's weapon. In this manner the forte, the point of 
vour blade that gives you the advantage of the maximum of 
leverage, comes in contact with the opposing foil at the point— 
the foible— where its force is least capable of offering resistance. 

SIMPLE PARRIES. 
There are two kinds of parries, simple and counter. The first 
named will now be dealt with. The lines of engagement give 




No. 20-FIRST POSITION IN DRAWING TIIK FOIL -THE 
SALUTE. 




No. 21-SECOND MOVEMENT IN DRAWING FOIL. 
[Note— Third position of right arm is the same as in first position, 
only in the third the foil is held in outstretched hand 




No. 22-FOURTR MOVEMENT IN DRAWING FOIL. 




No. 23 FIFTH MOVEMENT IN DRAWING FOIL. 




No. 24-SIXTHMOVEMENT-l'irTTIN<; FOIL INTO SCABBARD. 




No.25-WRONG POSITION OF SWORD IN SCABBARD-HILT 
TOO BIGH, 




iO 



• \ utfDX 



Spalding's Athletic Library. 61 

names to the parries in the simple class, prime, seconde, 
tierce, etc. 

THE PARRY OF QXJARTE-P/iotos Nos. 29, 30. 
The most important parry is the parry of qnarte. In this 
manoeuver the blade is carried quickly across the body from right 
to left. Use the fingers and wrist as much as possible. The 
elbow should be kept on a line with the hip bone and far enough 
from the body— just far enough and no more— to prevent cramp- 
ing. Now, with a light tap on the foible of your opponent's foil 
his point is turned away from its line of attack, leaving your foil 
pointing slightly upward. Your right forearm should slant across 
your body to guard your left breast. For engagement of quarte 
see Photo No. 31. For a touch in quarte, Photo No. 32. 

THE PARRY OF SIXTE. 
In making a parry of sixte, proceed as follows : 
Move your foil quickly across your body from left to right— from 
inside to outside— protecting the right breast. With practice you 
will be able to instill enough strength into the stroke to sweep 
your opponent's blade out of its intended course and free of the 
line of your body. The wrist, however, will strengthen gradually. 
Do not rely on arm parries. They are clumsy and ineffective 
against a trained fencer. 

THE PARRY OF SEPTIME. 
In parrying an attack in septime maintain the hand in the same 
position as in the parry of quarte. Drop the point with a semi- 
circular outward movement below the hand, taking care not to 
lower the hand or to drop the point below the waist line. Use 
power enough to carry the opposing foil clear of your body. The 
name " half circle " is frequently applied to this manoeuver. The 



e- Spalding's Athletic Library* 

parry of septime is generally used when, engaged in quarte, the 
low line on the same side is threatened. 

THE PARRY OK OCTAVE. 
Should your opponent threaten the low line on the same sid« 

When you arc covered in si\te. you resort io the parry of octave. 
The parry is made by an outward halt circle mauocuver similar 
to th.it in the parry of septime. 

•MOW QUARTE," OR Till- TARRY OF QUINTE- 

tf, 34, 
The parry of quinte guards the section between septime and 
Execute it by lowering the hand from qu; 
hip. keeping the point 'directed slightly upward, and fo 
attacking point away from your body. For a disarm in Quinte 
see Photo No, 34a. 

THE TARRY OF TIERC1 W\Sc. 

In -•■ parry of tierce hold the The 

id as sixte, but 

is held in 5 '. Tor lunge in ti< ) No. 35, 

TUT TARRY O r ^v.V.< .Yo.c /". .0. 39, 

• -.me. It is 

.-." tn - - 

! 

shi ■' 



Spalding's Athletic Library, «•'< 

THE PARRY OF SECONDE-TV/^s Nos. 40, 41 % 42. 

In the parry of seconde the foil is also held in pronation. 
Hie movement differs from the parry of octave, just as tierce 
differs from sixte. For engagement of seconde see Photo 
No. 43. 

The student of fencing should remember that while the move- 
ments involved in the various attacks, parries, etc., are described 
in detail, they should be executed so quickly and so smoothly that 
they appear to be but one. Jerkiness and slowness are at all 
times to be avoided. The successful fencer must be as supple as 
a snake and as agile as a wildcat. 

THE COUNTER PARRIES. 

Counter parries are circles described around an adversary's foil, 
the purpose of which is to bring it back to the point from which 
it started. The counter of quarte and the counter of prime make 
the circle from right to left. In the counters of sixte and of octave 
the circle is made from left to right. 

There is no cut and dried rule directing the size of the circle 
made by the foil point in a counter parry. The immediate cir- 
cumstances of the encounter determine this. It is well to hold 
your foil, however, as close as possible to the opposing blade if 
you can make use of any of these particular strokes. 

Relative to parries in general, Dr. Edward Brcck of the Boston 
Fencing Club, and editor of "The Swordsman," who was the 
author of a previous issue of this book, made some remarks which 
will now be quoted. J le said: 

The safest advice is to practice assiduously all the parries, ex- 
cepting perhaps prime, which is difficult to execute and very little 
used in foil play. As the beginner becomes more dexterous he 
will soon see for himself what guards are the safest to rely upon. 



64 Spalding's Athletic Library. 

Successful parrying depends to a great extent upon a trained in- 
stinct, which enables one to foresee trie direction of the oppon- 
ent's attack, and upon accuracy and judgment in executing a 
movement. The important thing is not to be led off into making 
your parries too -wide, for in fencing, as in everything else, the 
conservation of energy is vital. It is easy to see that if, upon 
your adversary's feint in sixte, you allow your blade to fly too far 
off to the right, you will be unable to get it back in time to parry 
his real thrust in quarte. Therefore, begin by trying to make your 
parries too narrow, and only broadening them when you see that 
you are hit too often. At the same time try to avoid moving the 
arm, using the fingers and wrist almost entirely. The greatest 
compliment that can be paid a fencer is to say that his doigte is 
excellent; i. e., his finger-play. 

The beginner is recommended to perfect himself in the 
counter parries, and to practice them industriously, as they will 
tire the strongest wrist at first. I shall not describe the complex 
parries at length, as they are but combinations of two or more 
simple parries. A very serviceable one is the counter of quarte 
followed by the parry of sixte; indeed, some fencers almost in- 
variably follow up a counter by some simple parry, in order that, 
if your opponent has foreseen your counter and his point has fol- 
lowed yours around the same circle (called doubling), his event- 
ual thrust in the opposite line will be stopped. 

Strong combinations of this kind are the counter of quarte 
with the parry of octave, and the counter of sixte with the parry 
of septime or seconde. 

The pupil should experiment with all these, for with them 
comes experience, and through experience and trained instinct 
which is the mother of judgment and foresight. 



Spalding's Athletic Library. 65 

THE VALUE OF FINGERING. 

The beginner will do well to develop the practice of fingering, 
which consists in changing the direction of the foil by relaxing 
or tightening certain of the fingers without altering the general 
position of the hand. Fingering adds to your delicacy and 
finesse. The following exercises in fingering are recommended, 
and should be practiced industriously: 

Being on guard, throw the point of your foil towards the right 
by relaxing the grip of the last two fingers, but without moving 
the hand; then, by replacing the last two fingers, bring the blade 
back to its original position, at the same time giving your adver- 
sary's blade a sharp, but light, dry beat. This will have the ten- 
dency, if he holds his hand as lightly as he should, to throw his 
point off to the right, upon which he executes the same beat upon 
your blade, and so on alternately. 

This capital exercise should be practiced by two beginners for 
at least fifty or a hundred beats at a time, the greatest care being 
taken to use the fingers only in moving the foil. 

ENGAGEMENT. 
Engagement is the act of crossing blades with your adversary 
in an opposite line to the one in which you were just engaged 
with him. This is done merely by lowering your point and pass- 
ing it under his blade, using the fingers only, and taking great 
care after completing the movement that you are well covered, 
and that your point is in line with your adversary's eye. 

THE ATTACK. 
The leading principle of attack is to penetrate or thrust aside 
your opponent's guard, and to hit the front of his jacket with the 
point of your foil. You may seek to attain this end by sheer 



66 Spalding's Athletic Library. 

force, by superior quickness or by strategy. The lunge is the 
most valuable .1 tost frequently adopted form of attack. 

The various modes of attack are susceptible of arrangement in 
aps which better enables them to be treated with due regard 
to their particular attributes. 

PRIMARY ATTACKS. 
Primary attack is that begun by yourself, intending to hit by 
means of speed, a feint or through simple strength. In follow g 
the first of these three methods you endeaver to score by the 
lunge by superior swiftness and perfection of form. Here you do 
not seek to disguise your movement at all. Your object is to 
:e your opposite before he can parry. 
In the first attack you try to mislead your opponent by threaten- 
.1 part of his body other than that you really intend to hit and 
3 attempt to cause him to leave unprotected the latter portion 
of his anatomy. 

ng to mere force you attack so violently. ; 
advisedly, that the man on the defer- ^concerted or over- 

powered to such an extent that he is unable to guard himself 
.*.: your vigorous advance you endeaver to turn 
his blade aside, force him off his balance and to encirclr 
blade with yours, carrying it to one side. Then you can score 
with the point of your foil. 

SECONDARY ATTACK. 

In the tactics of or. : ribed under the caption "Secondary 

Attack" your object is to outmanceuver your fellow fencer on 
own advance. 

You may outwit him by anticipating an attack which 
believe him to be formulating : - : rking up to, and by a spi: - 



Spalding's Athletic Library. 67 

©ffense, cause him to give up these plans; or you may attack him 
during the development of his scheme of offense, a "time attack." 
In a time attack you meet his advance half way. Lastly, you may 
withhold your forward step and clash with him as he seeks to 
drive his foil to your body. He will now be within thrusting 
range. Your thrust in this case will be a riposte, which is made 
from the parrying position when you stop a primary attack. In 
this stroke you seldom move either foot. "Counter Ripostes" 
are thrusts made directly after parrying a riposte. 

FALSE ATTACKS, A SUPPLEMENTARY FORM OF 
OFFENSE. 
False or decoy attacks are resorted to merely for the purpose of 
enticing an opponent, as may be judged from their title. In these 
you do not necessarily need to lunge. Your idea is to cause your 
opponent to attack in such a manner that you can parry quickly 
and follow with a forceful return. A slight movement of the 
body or foot, or the twitching of the hand or shoulder is some- 
times all that is required. 

THREE ESSENTIAL REQUIREMENTS WHICH 
EVERY FENCER SHOULD OBSERVE. 

The intention of the writer, it is, to delve into the details of 
attack in its numerous forms, variations and combinations and 
before so doing he wishes to impress three true and tried essentials 
on the minds of his readers. 

FIRST. 
Keep the point of the foil below the level of the hand in attack- 
ing the high lines, and above the level of the hand in attacking 
low lines. 



68 Spalding 's Athletic Library. 

SECOND. 
Deliver attacks with a completely straightened arm, that is, the 
arm should be absolutely straight when the foil point reaches, or 
is supposed to reach, its mark. 

THIRD. 
No matter what line you attack always take care to guard, or to 
be in a position to guard, yourself effectively in that line. 

THE TECHNIQUE OF PRIMARY ATTACKS. 

SIMPLE OFFENSE. 

In the manoeuvers included in the primary methods of attack 
the simple offense tactics are first to be dealt with. They are 
those made with what may be termed elementary or uninvolved 
movements. They are four in number, viz.: the direct lunge, the 
disengage, the counter-disengage, and the cut-over. 

The Direct Lunge is only used when the adversary exposes 
himself in the line he is engaged in. A simple, straight thrust is 
also used on a feint by the adversary, or at the beginning of his 
attack, but it is then called a stop-thrust or time-thrust, and is a 
secondary attack. 

The straight lunge is not generally used as an opening move by 
advanced fencers because of its unadorned simplicity which would 
rarely prove effective against a veteran so early in a match. To 
reach its target it must be sensationally swift. Concerning this 
form of lunge H. A. Colmore Dunn, the well-known English 
fencing authority, writes as follows : 

"Say, for instance, that you are engaged in quarte and you 
notice that your opponent is carrying his hand too low, you may 
take advantage of this opening by a straight lunge high up. 



Spalding 's Athletic Library. 7? 

"Sometimes in dealing with an opponent who is in the habit 
of passing bent arm disengages, a good chance is offered for a 
straight lunge." 

THE DISENGAGE. 

To disengage consists merely in lunging in a line different from 
the one in which you arc engaged. This is often used when the 
opponent engages heavily and presses your blade. 

In a disengage use the wrist and fingers, leaving the arm almost 
entirely to itself. You can disengage from any line to any other. 
In order to disengage from one high line to another high line, 
drop your foil point under your opponent's blade. To change in 
this manceuver from a low line to another low line lift the point 
over his foil. Disengaging from high lines to low lines is per- 
formed by merely dropping the point, and from low to high lines, 
by raising it. 

THE COUNTER DISENGAGE. 

The Counter Disengage is executed by a circular motion fol- 
lowed by a quick lunge the moment your adversary changes the 
line of engagement. 

For instance, if, while engaged in quarte, your opponent starts 
to engage on the other side, drop your point, and, following his 
blade round by a narrow circular movement, lunge in quarte, 
with your hand opposite (or held) to the left. The effect of a 
counter-disengage is always a lunge on your part in the same line 
in which you were engaged before your opponent started to 
change it. Two counter disengages immediately following one 
another are called a double change, 

THE CUT-OVER, OR FRENCH COUPE. 
The Cut-Over (French coupe) is used to attack the adversary 
in the high lines. It is a disengage executed by passing your 



78 Spalding's Athletic Library. 

point over (never under) your adversary's and lunging in the new 
line. The movement of raising your point should be effected by 
the fingers only, and not by drawing back the arm. 

The Cut-Over is a dangerous attack in the hands of a strong, 
quick fencer, for it is difficult to parry and can be changed in- 
stantly into a parry or an attack of a different description. The 
great danger in executing it is to slap, and to throw the point 
wide. To avoid this, practice slowly at first, and be sure to throw 
up your hand when delivering your point. 



Spalding's Athletic Library. 




ONE-TWO. 

Feint attacks make up the second division of primary offensive 
measures. They consist of the One-Two, the One-Two-Three, 
etc., and the Double. The One-Two is performed by lunging in 
the original line of engagement after a dexterous feint. The 
lessons of experience dictate that you must make a determined 
move in the preliminary feint, thus luring your opponent on. 
It is at times advisable to accompany the simulated attack with a 
step with the right foot, as though to accentuate a genuine lunge. 
Advantage is frequently gained by feinting in the high lines and 
delivering the attack in the low lines and also by following 
the exactly reverse method. For a feint in seconde see Photos 
Nos. 44-45. You need not necessarily, however, disengage back 
into the original line threatened. You may, if you choose, carry 
the disengage into any available quarter, as circumstances render 
advisable. 

ONE-TWO-THREE. 
There are times when the One-Two is carried a step further. 
By the interpolation of a third change of line you give it addi- 
tional complication and form the One-Two-Three. In executing 
this blow you should make the first parry simple as well as the 
second. The best plan is to follow a simple parry with a counter. 
Do this in preference to making consecutive simple parries. You 
can use a counter from the position of the second simple parry, 
however, should you happen to have made a One-Two-Three 
possible by two simple parries. 



80 Spalding's Athletic Library. 

THE DOUBLE. 

When you threaten a disengage and the movement meets a 
counter parry instead of a simple parry from your opponent you 
will be unable to resort to the One-Two-Three. You must go 
round the counter parry in order to mislead the rival fencer. As 
an illustration read carefully the following, which is a description 
of the Double, a combination of the feint disengage and the 
counter disengage. 

In an engagement of quarte, if, on your feinting a disengage 
into a sixte, the opposer executes the counter of quarte, lift the 
point of your weapon and circle around his counter with a counter 
disengage. In this manner you will find your foil back in sixte, 
the line out of which you were intended to be shut. The double 
is likewise made from high to low lines, from low to high lines, 
etc. The practice of the double affords a splendid exercise for 
the wrist and fingers. The novice should repeat the manceuver 
time after time. 

FORCE ATTACKS. 
In the Force attacks, as their name signifies, you must exert 
considerable muscular vigor in your operations. Disregarding 
merely for the moment the absolute requirements of nicety and 
finesse you resort to none the less scientific measures of compara- 
tive violence. Force attacks are subject to variations, of course, 
and the different forms of this branch of the foilsman's art are 
known as the "beat," the "press," the "graze," and the "bind." 

THE BEAT. 
The beat, the press and the graze are the most frequently used. 
In the beat you quickly withdraw your blade (by a movement of 
the wrist, not of the forearm) press your forte against your antag- 
onist's foible, and thus forcing him from the line of cover you 



Spalding's Athletic Library. 81 

lunge straight into the opening he has left. The beat is some- 
limes used as a feint, followed by a disengage. 

The withdrawal of your blade from that of your opponent is, of 
course, a disadvantage to yourself unless you take great pains to 
prevent him from finding an opening. Consequently, do not exe- 
cute the beat with other than the swiftest possible motions. You 
may use the beat in conjunction with a swerving of the foil from 
one line to another, etc., and it can be of service in "re-beating," 
which means to beat an opposing foil now in one line and then in 
another. Also in the re-beat, you can work the first stroke as a 
feint by making it light, doubling the force of your offense on 
the second. In this way you will sometimes entirely confuse your 
opponents. 

THE PRESS. 

The press is simpler than the beat, as you exert force with your 
forte on your opponent's foible without the backward movement 
of the hand, and at once lunge into the opening thus secured. 
As time is saved by not withdrawing the hand the press is quicker 
than the beat ; like that attack, however, it is sometimes used as 
a feint. 

Through the fact that you do not carry the foil out of the line 
of engagement in the press it may be said to be less liable than 
the beat to leave your own body unprotected. Power is put into 
the press by the contraction of the muscles of the wrist and the 
tightening of the fingers around the grip. 

THE GRAZE. 
In the graze you raise your wrist, pit your foil's forte against 
the foible of your opponent's weapon and slide your blade, im- 
planting the point in the line at which his foil pummel is pointing. 
The variations of the graze can be learned from an instructor in a 



82 Spalding' s Athletic Library. 

short time. You may use the graze as a feint or suddenly draw 
your foil clear of your adversary's blade and engage in any of the 
lines that present a chance for a score. 

THE BIND. 

The bind is a movement by which you meet the opposite foil 
with yours and carry the blade from either the low lines to the 
high, or from the high lines to the low, etc. As the transposition 
is completed drive home the point of the foil. The force you put 
into the bind keeps your opponent from freeing his blade soon 
enough to score. 

In the bind you apply your forte to his foible. Binds are dan- 
gerous and the beginner will have little if anything to do with 
them. Only two or three are generally made use of. Endeavor 
to keep your opponent's point clear of your body as you carry his 
blade. It is apt to fix in your jacket, should he seek to force a 
lunge home when you are not well prepared. 

Always remember that the great strength of the bind lies in 
keeping your forte to his foible. You can best make the bind 
effective when your antagonist projects his foil too far in advance 
of his body. In this faulty position you can readily reach his 
foible with your forte. Authorities agree that no hard and fast 
rules can be set down for the parrying of a bind because of the 
fact that they are exceedingly irregular in the degree of force in- 
volved, etc. The best plan of defense seems to be to let your 
opponent carry your foil to the point where he intends thrusting 
home, and then to disconcert him by exercising superior force 
and by thrusting his own blade to one side. 

SECONDARY ATTACKS EXPLAINED. 
In the forms of attack classified in the secondary division the 
principal feature is retaliation. Instead of sharply taking the ini- 



Spalding's Athletic Library. 83 

tiative you await an opponent's attack and endeaver to turn it 
against himself by superior speed or generalship. Or you may 
vary this general mode of procedure in several ways, by attacking 
him while he is in preparation or in the development of his 
offense. 

THE RIPOSTE. 
Probably the riposte is the most effective form of secondary 
offense. At any rate it is the most important. It may be com- 
pared to the brilliant retort of a lawyer in putting his opposing 
legal luminary to flight in an important case or to the decisive 
return of a sudden attack by the guns of a warship. Take and 
give, not give and take, is the doctrine of the riposte, and the best 
of the fencer's innate combatative instincts are aroused by oppor- 
tunities to meet an offense, defend yourself, and to retaliate 
snappily and tellingly. It is the answer to a challenge, the rise 
to an emergency, the test of spirit, and of what we generally term 
nerve. 

The riposte is executed at such a moment when an adversary has 
reached the limit of his advance, when he has rounded out his 
attack, when he is extended toward you, straining at you in the 
final move of the lunge. Now it is that you will find attack 
opportune. Naturally he cannot recover himself fully in this 
position. He can neither "make good" his attack, as a rule, if 
it has failed on the first onslaught, and he must pause momen- 
tarily, with his foil outstretched, in order to steady or to "set" 
himself for his spring back into a guarding pose. Parrying his 
lunge you deftly drop your point and force it to his body, by 
carrying it, in most cases, along the line of your opponent's 
thrust. For if you sent it wide, he will be given a temporary 
advantage. 

Of course, you must develop the facility of parrying with nicety 



84 Spalding's Athletic Library. 

before you can hope to execute a riposte successfully and in good 
form. You feel your way, as it were, in the parry, and sensitive 
fingers and wrists, as susceptible to indications of energy as the 
drum of a telephone is to sound waves, are requisities. 

The parry, as a forerunner of a riposte, should of necessity, be 
light and as swift as mountain winds. Also at every move, you 
must feel that you have the foil in entire control, and that your 
body is well balanced. Do not swerve from the line of action you 
map out for yourself for the vacillating, unsteady fencer, whose 
self reliance dissolves into nothingness under pressure, may pos- 
sibly be an ornament, but never a credit, to the ancient profession. 

The suggestion might be made that the fencer parry as close to 
his opponent's body as is consistently possible when a riposte is 
intended. By so doing, your foil point will have just so much 
less distance to travel to reach its target. Every quarter of an 
inch counts, as also does every fraction of a second. 

As your opponent in his lunge has naturally brought himself 
into reach, you need not advance the right foot in most ripostes. 
You save time and take fewer chances of losing perfect balance 
and form by answering his attack from the position you first 
held. 

Summed up, the chief rules for observance in the riposte are as 
follows : 

Parry effectively, drop your foil point, straighten your arm 
quickly, and be firm and accurate. 

When a fencer becomes comparatively expert, he may with 
safety change the line of a riposte by a single disengage. Always 
put dash and fire into a riposte. Brilliancy of execution adds im- 
measurably to a bout if accuracy be not endangered too greatly. 
Do not hesitate to take a chance now and then, particularly if you 
are a novice, and your style will become more attractive. 




3 
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■ 



Spalding's Athletic Library. 93 

COUNTER RIPOSTES. 

A counter riposte, as its title suggests, is the following of an 
opponent's riposte by a riposte of your own. The movement 
carries the riposte forward another step and with it you may often 
take an adversary unawares, if he is not a veteran. 

The counter riposte is of valuable service on occasions when you 
can manage to "lead on" an opponent who is inclined to be ex- 
citable. By determined action you can place him at your mercy. 
Control and balance are very important. 

ATTACKING BY MEANS OF A DECOY. 

Subterfuge is one of the ruling elements of fencing. You must 
be a past master of false moves and suggestions, and in fact, of all 
branches of simulated action. By a seeming oversight your oppo- 
nent may lead you into an attack on his strongest point. Your 
apparent advantage of the moment may have been given you in 
order that you may assist in your own downfall. Just as the 
astute chess player prepares pitfalls for his rival, so will your 
opponent lay snares for you with his foil, and in sheer self-defence 
you also must become learned in the subtle ways that lead to 
fencing strength. 

In a decoy attack you offer an invitation to your opposite to 
enjoy a treat that does not exist. Leave an opening, or, say, 
extend your foil point wide, every nerve of yours, however, feeling 
for his attack, your wrist and fingers ready to snap back your 
weapon to the desired line. Learn your opponent's favorite parries, 
and feint in the lines they cover. As he protects them, let your foil 
seek the opening your experience has taught you he will leave. 

Watch your opponent as a broker eyes the ticker tape when 
stocks are flighty. Observe these two hints which will prove of 
value : 



W S; : : <;v. 

As a rule, when a fencer intends to decoy, he carries his foil 
wider of the supposedly threatened line than would be the case in 
a bona fide attack. He accentuates his feint in order that you 
will be more certain to heed it. Govern yourself accordir 
Also, in decoys that you can detect — and practice will help you to 
do so— your adversary will sometimes carry his foil hand so far 
wide that he will be unable to bring it back in time to protect 
himself. Look for this, and attack him on the instant. 

ABSENCE. 

An "absence" is caused by the sudden withdrawal of one of 
the foils when both are engaged in any one line. The pressure 
of one blade against the other acts as a support to each con- 
testant and when one weapon is quickly drawn away the other 
will naturally swing wide, throwing its holder off his balance and 
leaving an opening. The absence really comes under the head 
of "Attacks on Preparation," and may often be resorted to with 
advantage. 

THE ASSAULT. 

The assault is that mode cf procedure which in the fencing 
room is usually termed "loose play." The aim of every beginner 
is that he will soon be permitted by his instructor to indulge in 
periods of actual com'- lie desires 

and developing ori| ssible 

means for developing : so enables 

- to judge as to whether or not he has formed a definite style 
of his own. I man that performs individual maneuvers 

faultlessly in prad s all manner of errors in loose play, 

simply because he and effort to 

the development of tacks and defenses. He will 

nevt well in an assault until every move is performed 



Spalding* s Athletic Library, 95 

intuitively, as though natural, everyday actions that do not re- 
quire the undivided attention of the mind. 

Many fencers have ruined their form by beginning loose play 
too early in their careers. Lamentable faults have become habit- 
ual and loss of time and speed is distinctly noticeable. The 
golfer should learn the grips and the handling of the different 
sticks, etc., before he enters active competition, and so also 
should the fencer become absolutely familiar with the rudiments 
of foil wielding ere he ventures into the assault. 

On starting in an assault you should always seek to ascertain 
the individual characteristics of your opponent's method. One 
man differs from another. One man's weak points are often 
the strong ones of another. If he is excitable, force the fighting, 
and he will often lose his self-control ; if he is cool and wary, 
meet him with his own game, and do not let him draw you into 
premature attacks, etc. If a man's strongest point is his attack, 
try to keep him on the defensive, and vice versa. 

Vary your tactics. The mechanical fencer is a piece of useless 
furniture. He is like the car horse that follows the same route 
day in and day out. Do not enable your opponent to accurately 
forecast your moves, and surprise him by the variety of your 
attack, etc. Again, do not permit a slow-thinking fencer to per- 
fect his plans. He will be easy to handle when he is on the de- 
fensive but oftentimes proves dangerous when his plans are ma- 
tured and advances into your territory. 

Remember that you should not attempt to score with unneces- 
sary force. Your foil button may have been lost in an inter- 
change, or loosened and the point may penetrate the breast pad 
or the mask. Moreover, in fiercely strong lunges you naturally 
hold the foil very tightly. This practice coarsens your grip and 
gradually deadens the desirable sensitiveness of the fingers. Lean- 



Spalding's Athletic Library. 

ing on the foil after the point has reached its mark is the height 
of folly. 

STABBING AND THE REMISE. 

Fencers are frequently met with who draw back the hand in an 
attack, previous to completing the lunge. The habit of stabbing 
is pernicious. No lasting advantage is ever gained by it and the 
slightest pause awards your opponent an opportunity to reach you 
with a full lunge. 

The stab, however, should not be confounded with the remise. 
The remise may not be indicative of the highest form of fencing, 
but it is allowable, nevertheless, and wins praise when successful. 
The remise differs from the stab in that it is a secondary thrust 
delivered AFTER A LUNGE HAS BEEN EXECUTED AND 
FAILED. The stab, on the contrary, is performed during a 
lunge, or BEFORE the arm and body have been fully extended. 
The remise may turn a miss into a hit, and by holding your lung- 
ing position momentarily after your opponent has evaded your 
attack, you may possibly be able to score by thrusting toward him 
again. If you hold the position too long, however, you will put 
yourself in danger of being hit. 

SCORING. 

The subject of scoring brings up several important questions. 
Endeavor to make your hits clean and indisputable. Sometimes 
a man is robbed of a point because the scorer or umpire has not 
seen it. Either the touch has been too light to be noticed by a 
man several feet away, or a part of the body of either of the 
contestants has been in the line of vision. 

The understood practice among fencers is that the man hit shall 
acknowledge his opponent's hit. Courtesy should always be one 



Spalding's Athletic Library. 97 

of the accompanying elements of a bout. Be content to yield a 
disputed point rather than to press your claims unduly. 

In match competitions do not hold carelessly to the lunging 
position when you have scored. The umpire may decide in favor 
of your opponent, he possibly having taken advantage of your 
lapse from vigilance and hit you in return. Correct and just 
scoring in fencing is a difficult proposition, and after all officials 
are only human. 

If both combatants should happen to make simultaneous hits 
the point is placed to the credit of the man making the last 
parry. Suppose, for instance, that you lunge at a man and he 
parries, choosing not to riposte. Now, if you successfully re- 
mise the point is yours. On the other hand, should your antagon- 
ist riposte from the parry he scores a hit, the remise proving 
valueless, even if it reached its mark prior to the delivery of the 
riposte. Noticeable hesitation in delivering the latter, however, 
disqualifies. When a fencer has been disarmed in an engage- 
ment, he cannot be scored against unless he is hit fairly before 
his weapon strikes the floor. 

THE GRAND SALUTE. 

The assault and the grand salute may well be said to go hand in 
hand on many occasions during exhibitions. The salute consists 
of a series of maneuvers performed without a mask, and which 
are given preparatory to an assault. 

The salute includes practically all the major movements of 
attack and defense and its purpose is undoubtedly to show the 
onlookers the various features of the display about to be put 
before them in the actual bout. In the salute every action 
should show perfect balance and control. At no other time is a 
fencer in a more exposed situation. He is on show, and like the 



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Spalding's Athletic Library. 99 

fender, watching his actions, lowers the hilt of his foil so as to 
take up a like position at the same time. 

"Then both together proceed to salute, first to left then to right, 
as follows : They begin by showing the parry of quarte, carrying 
hand, arm, and point further over to the left than in the ordinary 
way of forming the parry, so as to emphasize the movement; 
then, on the return from the parry, they bring the hand back on 
a level with the mouth, and, changing the hand into pronation by 
a turn of the wrist, show the parry of tierce in a like pronounced 
manner. 

"After this both the opponents go through the movements neces- 
sary to bring them from the preliminary position to that of guard, 
as before, crossing the blades previously to advancing the right 
foot. 

"The assailant then proceeds to pass a series of disengages — 
say four — to which the defender offers the corresponding parries. 

"Thus, the assailant disengages into sixte, and as the arm is 
straightened in that line, the defender parries tierce with a crisp 
tap, taking care not to harsh his blade. On feeling the parry, 
the assailant smartly reverses his foil, turning the point toward, 
and so as to pass close beside his left ear, the hilt resting on 
the back of the hand, and the grip being held by the thumb and 
first finger only, while the other fingers are ranged beneath the 
first; and he lunges in with the pummel directed toward the de- 
fender, whom he keeps in view by carrying his hand far enough 
to the left to leave an opening between arm and blade. 

"In order to make way for the lunge, the defender drops his 
point from the parry of tierce so as to show the parry of 
octave, only carrying the point far enough across the body of the 
assailant to avoid hitting him on the move forward. 

"On the assailant's recovering from the lunge, the opponents 



100 Sfia/rfirrz's Athletic Library. 

form the engagement of sixte or tierce. Again the assailant dis- 
engages, and. on the parry of quarte from the defender reverses 
his foil as before, but directs the point toward and clear of his 
right ear, and in hinging with the pummel toward the defender, 
his hand is carried far enough to the right to enable the assailant 
to see him between blade and arm. 

"Here, to make way for the lunge, the defender shows the parry 
of septime, carrying the point across the body of the assailant to 
the other side. 

"The remaining disengages are given and received with a repe- 
tition of the same movements as in the first two disengages. 

"In delivering the first and last lunges, the assailant dwells a 
little time : but he passes the intermediate disengages as fast as 
possible. 

"On recovering from the last lunge, the assailant shows a one — 
two without lunging, and the defender shows the parry of tierce, 
so that on this occasion the blades do not come in contact; and 
then both of *hem resume the upright position, the assailant rais- 
ing his point as in the preliminary position, and the defender pro- 
imitate in all respects the actions of the assailant in 
taking disl 

"This cone, the former defender becomes in his turn the assail- 
ant, and the latter now assumes the character of defender, each 
of the. '-.rough the tame movements as his predecessor in 

the p?.~: free, disengaging and parrying 

as before laid down. 

''On the feint one — two of the now assailant, both opponents re- 
sume the Op -ition and fall on guard, not in the usual way, 
but with a backward inc.- i :' the left foot about twice its 
own long:'. :h the hand ii f tierce. 

"Next they both beat twice with the right foot, resume the up- 




No. 37- PARRY OF PRTMR. 




v 3 £ 




[NCORREC1 PARRY OJ I BCONDfc. 



Spalding's Athletic Library. 



109 



right position by bringing the left heel up to the right, and salute 
in quarte and tierce. 

"In conclusion, both opponents come on guard as from the pre- 
liminary position, beat twice with the right foot, bring the left 
heel to the right, and salute one another by carrying the hilt up 
to a level with the mouth, the point directed upward, and then 
lowering hand and point to the position of seconde." 




Spaldikg " Red Cove*" Seed i oi CI 

Athletic Handbo ' — ■ 



No. 30 k. 



FENCING 

A Short, Practical and Complete 

Exposition of the Art of 

Foil and Sabre 

According to the Methods 01 the Best 
Modern School 

by 
DR. EDWARD BRECK 

Of the Boston Fencing Club and ike 

Boston Athletic A i ol iation; Editor ' ' The Swordsman** 

ike Official Organ of the Amateur Fencers 1 

League of America 




PUBL 



n 

r— • U 

, — I n d 



ii 



RH 



Copyright, 1915 

BY 

American Sforts Publishing Company 
New York 



Introduction. 

Fencing is the knightliest of sports. In no other pastime 
is the interest so cJ ose , so in fee o rated as I o fen e - 

ing, and in no other Lb the ex] 
ana headwork ho nicely proportions d. " You are h< 
touch with your opponent; the 

. lightning conductor that inslanta 

our brain the knowledge of what at1 

nary Is meditating. Every faculty of your brain, <>v< : ry i 

ir body, every nerve of eye and hand, all are < 
alert; and you live more intensely, more vividly in an a 
of a quarter of an hour, than n. 

■eminently the ; but, unlike 

many otto ' 

o, yachting, etc., it is within the re poor'man. 

Just as the noble, but impecunious D'Artagnan won hi 
to fame by his rapier alone, so the champion fencer of t 
is made with a vf-ry moderate outlay. Foils, 
jackets, and a good master, or failing him, a fii 
of the art, are all that is required. 

What are the advantages of fencing? Let us first -- 
what it is superior to ail other sports. In training the judg- 
ment ' in giving i 
supple .-, and grace of movement; and in .. 
habits of courtesy. As a training for the . 
yields to no light gymnastics, not even to boxing., 
the populai \ j n a 
much more systematic and less violent m arm- 
young friend of mine, an enth a . ■:-, and gi 

gentler sister art, y persuaded to take 

fenci: En1 

his bout, I heard liirn exclaim breathlessly, and with the 
pouring of! him, "Well, I never knew fencing took hold of a 
man so!" 



Mistorical Sl£etclr|. 



The modern school of fencing Is Founded, as we know, upon 
the old sword play of Spain, and was Introduced Into F 
by travelers from that country, ami into Italy through the 
conquest of Sicily by the Spanish Bourbons. From this 
period i two schools of Italy and France. While the 

Italian masters have kept to this date the long foil with its bell- 
guard, direct descendant of the old Spanish rapier, the French 
have modified their weapon so, that It to-day harmonizes more 
perfectly with the national charaoter, being lighter and more 
supple than ua. Scienl aid to date 

from the 16th Century, and was a sport patronized by royalty 
and cultivated by the noblesse Henry m, who 

was hi expert fencer down to Louis XVI, this wonder- 

ful tradition of the French school was preserved without inter. 

q, and the return of the Bourbons after I 
Napoleon, was the signal 

The year 18 theculmina i lenoe 

during the first half ol letwo 

. Jean-Louis. Boessiere, Saint Ge< 
Oharlei id a host of others held high the bai 

art 01 modern iy of the first rank mig 

named, such as] 

we may count worthy represe 
French school In Oorbessier, Rondelle, Jacoby, Qouspy, 

ler, Senac nafous. S< 

ateurs will be mentioned at the elose of this volume. The 
Italian Bohool Is also by no means to be despis 
Italians themselves. \ . full of lire and 

:e agility, have «en known as I 

swordsmen, although ; mion of most modern j 

the French school exhibits a decided superiority Ln point ol 
form and stylo over the Italian. 



THE ITOIL. 

"When, you buy your outfit, v,<> to a first-elftff dealer and 
o eneap stuff. It : generally bad, and often 

. 1/5 Of 

'eight for your ber too light than too 

I which be m the blade Is laid - 

■ an inch from the hilt. The handle should In i 

bo curved, and bound frith twine. Do not I d Into 

buying a pair of thoj gold-handled affaire, 

with which some dea rant. En the 

Qne mesh only, The common, 
s-mesh mi i r en by reputable 

dealei at menace to life, and shouli 

prohibited by law. i' earing one of 1 

t a prominent Pall River physician 
sing mai I : d through the 

and Into the victim';: eye and brain -truly a terrible 
b cheap and worthii 
The i . i ench with broad leather 

are the beet, but many pi bb a rubber sole. 

Indpal requirement i - ; that It shall not slip. 
The glove should be loose but well ftttii raid be out 

In gam iiion. 

o lid be made ol ome otbei 

J. backed with ; 

I to by all I 
per /fence without a mask. To 
■ 
lie of all well-i 
dngform i i t for mere than In 

recover, tiie 
different pai i 



n6 



FENCING. 



HOW TO HOLD THE FOIL. 

This is the most important element, as in this sport, all the 
real play is restricted to the fingers, the aim playing a sub- 
ordinate part. Let the concave of the handle rest in the palm 
of the hand, the thumb stretched along the convex, and the 
forefinger a trifle in advance of the thumb. Hold the foil 
lightly but firmly, and so flexibly that the point can be raised 
by the mere action of the fingers, which will ache for a time, 
until used to this unwonted exertion. This position of the 
hand is called supination. The other position is called prona- 
tion, and is secured by simply reversing the hand, so that the 
linger nails are turned downwards. (See figs. 1 and 2.) 




FIG. 1. — HOW TO HOLD THE FOIL — SlipinatiOJl. 




fig. 2.— how TO hold THE foil— Pronation. 

The first position is the one most generally employed, and 
may be recommended to the almost exclusive use of begin- 



FENCING. 



II 7 



ners. The great master Lafaugere gave his pupils the follow- 
ing excellent rule: "Hold your sword as if you had a little 
bird in your hand; firmly enough to prevent its escaping, yet 
not so firmly as to crush it." 

HOW TO GET ON GUARD. 

First take the position of attention; the feet at right 
angles with each other, the head erect, and right arm and foil 
extending downwards to the right, so that the button is about 
4 inches from the floor; let the left hand hang down naturally, 
and poise the body so that your profile will be towards your 
opponent. The movements necessary for coming On Guard 
are seven in number. 

1. Being in the position of attention, raise the arm and foil 
and extend them towards the adversary, the hand being op- 
posite the eye. (See fig 3.) 

2. Let the arm and foil drop slowly until the point is about 
four inches from the floor. 

3. Swing the point of the foil around to the left side of the 
body until the foil is 

held horizontally 
across the hip, the right 
hand being reversed, 
nails downward, and 
the point of tl 
pointing bach 
at the same time, place 
the fingers of the left 
hand together upon the 
blade, the palm up and 
the nails touching the 
guard. 

4. Carry the foil, with- 
out altering the posi- 
ti' >n of the hands, above 
the head until the arms 
are extended to their 
full reach, the foil being 
kept horizontal and 
close to the body as it 
rises. 




no. 3.— coming on guakd.— First 
movement. 




Ilg FENCING. 

6. Let the left arm fall back behind the head to a curved 
position, the hand being slightly 
above the head; at the same 
time bring the right hand down 
to the height of your right 
chest, about eight inches from 
the body; keep the elbow well in. 
The point of your sword is now 
directed towards your opponent, 
and in line with his eye. 

6. Bend the legs by separating 
them at the knees, but without 
moving the feet. 

7. Shift the weight of the body 
^ entirely on to the left leg, ad- 
vance the right foot a short dis- 

FIG. 4.-ON GUARD. ^^ ^ ^ „. ^ ^ ft direcfc 

line from the left heel towards your opponent. (See fig. 4.) 

This is the position of On Guard. 

THE ADVANCE. 

Being On Guard, take a short step forward with the right 

foot and let the left foot follow directly after with the same 

distance, taking great care not to alter the position of body, 

head, arm or hand. This step or series of steps should be 

made with great rapidity, but the right foot should always 

move first. 

THE RETREAT. 

Being On Guard, take a short step with the left foot back- 
ward and instantly let the right foot follow ; the other parts 
of the body should not be moved, and the left foot should 

always move first. 

THE CALLS. 

This is an exercise to test the perfect equilibrium of the 
body, the weight of which should be so poised on the left leg as 
to make the following simple movements easy to execute. 
Being On Guard, strike or slap the floor lightly but sharply 
twice with the right foot, but without altering the position of 
any other part of the body. Care must be taken that the blow 
should be quick and light, which is impossible if the body is 
poised too much on the right leg. 



wmacanG. 



ITQ 



EXTENSION. 




FIG. 5.— EXTENSION. 



Without moving: the 
other parts of the 
body extend the right 
arm quickly, but 
without jerking, so 
that the arm, wrist 
and hand shall form a 
straight line with the 
foil, the hand and foil 
being on a line with the 
shoulder. The position 
of On Guard is resumed 
by simply rebending 
the arm. This exercise 
should be practised 
carefully, as on its per- 
fect execution depends 
the success of a lunge. 
(See fig. 5.) 



THE LUNGE. 

Extend the arm as above described, and immediately after- 
wards straighten the left leg, and throw forward the right 
foot so that it shall strike the floor so far forward as is pos- 
sible without losing the equilibrium ; the left foot should not 
be moved at all, while the right foot should be planted at right 
angles to the left, the right lower leg and thigh forming a 
right angle or nearly so. As the body moves, let the left arm 
fall straight back so that it shall 
hang four inches above the left 
leg. (See fig. 6.) To return On 
Guard, bend the leg and throw 
the body back with the right leg, 
which follows it to its position. 
The lunge should be practised 
against a leather plastron or 
other device, hung upon the 
wall at the heighth of a man's 

breast, at least a couple ^ of ..^^ LUNQB , 

hundred times daily, care being 




120 



FENCING. 



taken to execute the movements with the greatest smooth- 
ness and precision. The movements should at first be 
made slowly and in the order given above ; later on, the move- 
ments are accelerated and follow each other with such rapidity 
that the whole seems really to form but one movement. The 
mistake into which beginners are most likely to fall, is to 
throw the right leg and body forward before extending the 
arm ; this should be carefully guarded against. 



GAIN. 

This movement consists in bringing up the left foot towards 
the right, keeping the knees still bent. In this way a step is 
really gained, and an especially long lunge can be made with- 
out the adversary's knowledge. The movement should on 
this account be made as stealthily as possible, care being 
taken not to let the body sway when the weight is shifted onto 
thb right leg. The " Gain " is to be especially recommended 
to short fencers, as it has the effect of lengthening the lunge 
considerably. 

THE SALUTE. 

Having " recovered," carry the right hand to a position just 
in front of the throat, holding the blade vertically before the 
face, the hilt at the chin and the knuckles outward, then lower 




FIG. 7.— THE SALUTE. 

and extend the arm, nails up, until the point is four inches 
from the floor and a little to the right of the body. (See fig. 7. J 
The Grand Salute will be mentioned further on. 



FENCING. 



121 



THE EECOVER. 

This is the action necessary in coming from the position of 
On Guard to that of Attention. It is accomplished by extend- 
ing the right arm, lowering the left hand, and straightening 
the legs by drawing the rear foot up to the one which is in 
advance. The " Kecover " backwards is done in the same way, 
except that the forward foot is drawn back to the one in the 

rear. 

LINES OF ENGAGEMENT. 
For practical purposes the fencing jacket may be supposed 
to be marked out in quarters, the two upper halves being 
called the "High Lines," and the lower halves the "Low 
Lines." This is done in order to indicate as accurately as 
possible the place where the point of the foil arrives, or is in- 
tended to arrive. There are really four parries made with the 
hand in supination, and four, really the same, made with the 
hand in pronation. The first or sixte line is the upper right 

hand quarter of 
the body; a thrust 
at this portion is 
called a thrust or 
lunge in sixte, and 
the parry is called, 
• 5 with the hand in 
supination, the 
parry of sixte, or 
if the hand is in 
pronation, the 
parry of tierce. 
,ei The second "High 
Line" is the left 
quarter of the 
breast, and is 
called the line of 
quarte or quinte. A 
thrust at this por- 
tion is called a 
thrust in quarte, 
and the parry is 
called, with the 
hand in supina- 



6ow 





/octave 




Jjq. 8.— LINES OP ENGAGEMENT. 



122 TENCTXQ. 

tion, the [parry of quarte, or with the hand in pronation, the 
parry of quint c. The third and fourth linos representing the 
lower half of 1 he body, are called the " Low Lines." The first, 
or loft hand lines, occupying the left lower half of the body 
are called the octave or seconde, according to the position of 
the hand, while the left lower portion is called the "Line of 
Half Circle" or prime. The positions of these two lines of en- 
gagement are easily soon in our illustration. (See iig. 8.) 

THE FAERIES. 

In general it may be remarked that all parries should be 
made with the Least ezpenditureof time and exertion possible. 
An export fencer parries almost entirely by a movement of 

tho wrist and fingers, hooping the arm nearly immovable. 
Most of the parries are made with a Light quick tap with the 
forte, or stronger half of the blade, on the foible, or weaker 
half of the other, ka a general rule, all parries should be 
made with the edges of the blade and not with the flat sides. 
Nothing is more common than to see young fencers slashing 
about in 1 ho air in their efforts to parry, as if they were cut- 
ting daisies. A good rule for the beginner is to make his par- 
ries— at least the simple ones — as far as possible without 
moving the point of the foil, but only the hand and wrist. 
There are two kinds of parries, the "simple," in which the 
attack is warded off by a single movement, and the " counter," 
in which a circle or series of circles is described with the point 
of the foil either to the right or left, the point of the foil 
returning to its original position. 

THE SIMPLE PARRIES. 

The "simple" parries are called prime, seconde, tierce, quarte, 
quinle, septime and octave. The veptime is often called half- 
circle. 



N otk.— Prim* Is pronouttcvd " proem ; '* teoonde Is the same excepting that 
the accent is on tne last sjllablo ; tierce la " toealrce," with the accent on 
the"alroe;" quarte Is "carte; " quint Is "cant;" septime Is " eepte m," 
and octave Is " octahvo, " 



FENCING. 



123 



THE PARRY OF PRIME. 

Being on guard, move the hand, reversing it nails down- 
ward at the same time, to a position opposite the left eye, but 
keeping the point towards thd adversary's knee, and receiving 
the foible of his foil upon the forte of your own. This guard 
is somewhat difficult to execute, and is little used, the simpler 
parry of quarte being usually chosen, although if well exe- 
cuted by a quick motion it is effective, as it covers both the 
high and the low lines of the left side of the body. (See fig. 9.) 




FIG, 9,—f &BMY 01" llUJlE. 



THE PARRY OF SECOND E. 



This is to ward off a thrust made by your adversary at the 
lower right-hand side of your body, and is executed by a slight 
but quick downward movement of the hand, catching the hos- 
tile blade and turning it aside, the right hand being turned 
nails downward during the movement. (See fig. 10.) 



124 



FENCING. 




FIG. 10.— PAEEY OF SECONDE. 



THE PARRY OF TIERCE. 

This is to ward off your adversary's thrust at the upper 
right-hand part of your body, and is executed by turning your 
nails downward and moving your hand slightly to the right, 
just enough to throw aside your adversary's blade. Be care- 
ful not to make this movement too wide, and to keep the point 
of your foil towards your adversary and not allow it to fly 
away off to the right. (See fig. 11 .) 




TIG. 11.— IWBBY OF TTEBCE. 



FENCING. 125 

THE PARRY OF QUABTE. 

This very important parry, perhaps more used than any of 
the others, is employed to ward off the adversary's thrust at 
the left-hand side of your body, particularly in the high lines. 
It is executed by moving your hand towards the left until 
your forte encounters the foible of the adversary's foil and 
throws it aside. In making this parry incline the thumb 
slightly to tho right, and keep your point opposite the op- 
ponent. (See fig. 12.) 




FIG. 12 PAP.RY OF QUAETE. 

THE PARRY OF QUINTE. 

This is to ward off a thrust at the lower left-hand part of 
your body. It is executed by letting the hand drop from the 
position of quarte a little towards the left, and tapping the 
adversary's blade clear of the body. In doing so be careful to 
keep the point of your foil directed towards your adve. 
The parry of quinte can be executed either with the hand in 
lion or in pronation, although the latter is usually 
employed. 

THE PARRY OF SIXTE. 

This is to ward off a thrust at the upper right-hand part of 
your body, an I is executed by carrying y< 
to the right to catch and turn aside th< 
Be careful not to make the movement any wider than is abso- 



126 



FENCING. 



lutely necessary, and to keep your point directed towards 
your opponent. This parry should be carefully learned, as 
it is employed nearly as muoh as the parry of quarte. (See 
tiff. 13.) 




FIG. 13.— PAKBY OF SIXTE. 



THE PAEEY OF SEPTIME 

Is, like the parry of quinte, to ward off a thrust at the lower 
left-hand side of your body, and is executed by describing with 
the point of your foil a small semi-circle downward and 
towards the left, your hand at the same time being carried 
slightly to the left, just enough to throw aside your oppo- 
nent's blade. (See fig. l±.) 




FIG, H.— PABJiT OP SEPILtfE. 



FENCING. 



127 



THE PARRY OF OCTAVE. 

This is to ward off a thrust at the lower right-hand part of 
your body, and is executed by describing with the point of 
your foil a small semi-circle downward towards the right, your 
hand at the same time being carried slightly to the right, 
just enough to throw off your opponent's blade. 

The principal danger for the beginner in executing these 
simple parries is to make them too wide. The movements of 
the hand should be as light as possible, in order that the body 
may not be uncovered, a state of things which will soon be 
taken advantage of by a quick adversary. As I said before, 
on making these parries try to keep the point of the foil as 
immovable as possible. (See fig. 15.) 




FIG. 15.— PAEEY OF" OCTAVE, 



TIIE COUNTER PARRIES. 

Although the simple parries which I have just described are 
theoretically sufficient to stop any kind of thrust, yet, when 
a feint attack is made, as, for instance, when your adversary 
feints at your right side, and, dropping his point under, 
thrusts at your left, a counter parry is often the surer. Ron- 
delle's definition of the counter is as follows : 

"The counter is a circular parry, intended to seek the 
adverse blade in whatever quarter it may threaten you, and 



128 



FENCING. 



to direct it to the opposite quarter, or line. In a counter the 
point of your foil describes a small but complete circle, while 
your hand remains stationary." * 

Each simple parry has its counter, made with the hand in 
the same position, and on the same side, as the simple parry, 
but it will be sufficient to describe the execution of the four 
most important. 

THE COUNTER OP QUAKTE. 




— C0TTN- 



Being on guard in quarte, if your oppo- 
nent thrusts in sixte, or, in other words, at 
your right breast, follow his blade round 
by describing a small circle downward and 
to the right, then up over to the left, and 
back again to the same position in which 
your hand and foil were when you began the 
movement. If you have done this quickly 
and smoothly enough, you will still be en- 
gaged with your adversary in quarte, having 
caught and forced his blade across your body 
and out of line. Make the circle as narrow 



quaete. as possible. (See iig. 16.) 



THE COUNTER OF SEPTIME. 

Being engaged (on guard) in septime, on 
your adversary's thrust make your circle 
this time by raising your point over his 
blade; i. e., by starting it over towards 
the right and back, under, to the left. (See 
fig. 17.) 




FIG. 17.— COUN- 
TER OF SEPTIME. 



Rondelle'B Foil and Sabre, page 21. 



FENCING. 



129 



THE COUNTER OF SIXTE. 

Being engaged (on guard) in sixte, on your adversary's 

dropping his point and thrusting in high 

SfZZJy quarte [i. e., at your left breast), lower your 

C^/^\ P° int and describe with it a small circle, 

beginning the movement from right to left. 

(See fig. 18.) 

This parry and the counter of quarte are 
very much used by fencers, particularly by 
those who have strong wrists. Indeed, some 
fencers go so far as to use little else, indulg- 
ing in a succession of furious circles to the 
right or left upon every feint of the adver- 
sary. This is of course dangerous business 
with a skillful opponent, and tends to deprive 
one's style of variety. 




FIG. 18.— COUN- 
TER OF SIXTE. 



THE COUNTER OF OCTAVE. 

Being on guard in octave, to ward off your adversary's 
thrust in low quarte (i. e., at the lower left-hand part of your 
body) describe a small circle, beginning the 
movement from right to left, catching and 
turning aside his blade in the course of it. 
(See fig. 19.) 




GENERAL REMARKS ON THE PARRIES. 

It is impoesible in the course of so limited 
a pamphlet as this to go very deeply into the 
relative values of the different parries, but a 
few words as to the manner in which they 
should be used will suffice for the intelligent 
reader. 

The safest advice is to practice assiduously all the 
parries, excepting perhaps prime, which is difficult to 
execute and very little used in foil play. As the beginner 
beeomes more dexterous he will soon see for himself what 



FIG. 19.— COUN- 
TER OF OCTAVE. 



130 FENCING. 

guards are the safest to rely upon. Successful parrying de- 
pends to a great extent upon a trained instinct, which enables 
one to foresee the direction of the opponent's attack, and upon 
icy and judgment in executing a movement. The im- 
portant thing is not to be led off into making your parries too 
wide, for in fencing, as in everything else, the conservation of 
energy is vital. It is easy to see that if, upon your adver- 
sary's feint in sixte, you allow your blade to fly too far off to 
the right, you will be unable to get it back in time to parry 
his real thrust in quart. Therefore, begin by trying to make 
your parries too narrow, and only broadening them when you 
see that you are hit too often. At the same time try to avoid 
moving the arm, using the fingers and wrist almost entirely. 
The greatest compliment that can be paid a fencer is to say 
that his doigte is excellent; i. e., his finger-play. 

The beginner is recommended to perfect himself in the 
counter parries, and to practice them industriously, as they 
will tire the strongest wrist at first. I shall not describe the 
complex parries at length, as they are but combinations of two 
or more simple parries. A very serviceable one is the counter 
of quarte followed by the parry of sixte ; indeed, some fencers 
almost invariably follow up a counter by some simple parry, 
in order that, if your opponent has foreseen your counter and 
his point has followed yours around the same circle (called 
doubling), his eventual thrust in the opposite line will be 
stopped. 

Strong combinations of this kind are the counter of quarte 
with the parry of octave, and the counter of sixte with the 
parry of septime or seconde. 

The pupil should experiment with all these, for with them 
comes experience, and through experience that trained instinct 
which is the mother of judgment and foresight. 



FINGEEING. 

Before going further it is well to call the pupil's attention 
to an exercise calculated to give him accuracy and delicacy. 
Fingering really consists in changing the position of the foil 
in the hand merely by the action of the lingers alone. A good 



FENCING. 



131 



fencer often parries a thrust by the mere displacement of his 
fingers without any perceptible movement of the wrist or 
arm. The following exercises are recommended, and should 
be practiced industriously : 

Being on guard, throw the point of your foil towards the 
right by relaxing the grip of the last two fingers, but without 
moving the hand ; then by replacing the last two fingers bring 
the blade back to its original position, at the same time giving 
your adversary's blade a sharp, but light, dry beat. This will 
have the tendency, if he holds his hand as lightly as he should, 
to throw his point off to the right, upon which he executes 
the same beat upon your blade, and so on alternately. 

This capital exercise should be practiced by two beginners 
for at least fifty or a hundred beats at a time, the greatest 
care being taken to use the fingers only in moving the foil. 

ENGAGEMENT. 

The engagement is the act of crossing blades with your 
adversary in an opposite line to the one in which you were 
j ust engaged with him. This is done merely by lowering your 
point and passing it under his blade, using the fingers only, 
and taking great care after completing the movement that 
you are well covered, and that your point isin line with your 
adversary's eye. 

THE ATTACK. 

Your primary object, as you cross blades with your adver- 
sary is to place your point on the body of his jacket between 
the collar and the belt, and, furthermore, to do this correctly, 
gracefully, and without unnecessary expenditure of force or 
laying yourself open to his attack at the same time. 

Now, you may attack in two ways. Either you may your- 
self begin by a direct thrust, a feint and thrust, or some other 
manoeuvre, or you can wait for him to attack and then take 
advantage of an opening to score yourself. 

All attacks like the first mentioned, in which you yourself 
take the initiative, are called Primary Attacks, and all others 
Secondary Attacks, 



132 FENCING. 

The manner and correct moment to put these into practice 
will appear in the following exposition. 

Eemember that the foundation of the attack is the lunge, 
and therefore that your execution of this movement should be 
practiced until perfect. Three important rules should be kept 
constantly in mind: 1. Straighten the arm before lunging, 
even if only the fifth part of a second, for a thrust with a bent 
arm will throw your point wide four times out of five. 2. Throw 
your hand up and your point down ; otherwise you leave 
yourself open, and your foil is apt to bend down instead of up— 
an ugly result. 3. Be careful always to "oppose" towards the 
side on which your opponent's foil is. By "opposition" is meant 
tne movement of hand and foil into such a position, when you 
are stretched out in lunge, that a direct, straight thrust of 
your adversary is impossible. For instance, if, when engaged 
in quarte, you drop your point under and lunge at your oppo- 
nent's right breast, be sure to carry your hand somewhat to 
the right, as his blade is now on that side of yours, and if he 
parries your lunge he will yet not be able to hit you by simply 
straightening his arm. If, however, you carry your hand 
towards the left you leave your whole body exposed. 



PKIMAKY ATTACKS. 
These are divided into Simple, Feint and Force Attacks. 

SIMPLE ATTACKS 

are those made with one simple movement only, and are four 
in number, viz. : the direct Lunge, the disengage, the counter- 
disengage, and the cut-over. The Direct Lunge is only used 
when the adversary exposes himself in the line he is engaged 
in. A simple, straight thrust is also used on a feint by the 
adversary, or at the beginning of his attack, but it is then 
called a stop-thrust or time-thrust, and is a secondary attack. 

The Disengage has already been described. It consists 
merely in lunging in a line different from the one you are 
engaged in. This is often used when the opponent engages 
heavily and presses your blade. 



FENCING. 1 33 

The Counter-Disengage is executed by a circular motion fol- 
lowed by a quick lunge the moment your adversary changes 
the line of engagement. 

For instance, if, wnile engaged in quarte, your opponent 
starts to engage on the other side, drop your point, and, fol- 
lowing his blade round by a narrow circular movement, lunge 
in quarte, with your hand opposed (or held) to the left. The 
effect of a counter-disengage is always a lunge on your part 
in the same line in which you were engaged before your oppo- 
nent started to change it. Two counter-disengages imme- 
diately following one another are called a double change. 

The Cut-Over (French coupe) is used to attack the adversary 
in the high lines. It is a disengage executed by passing your 
point over (never under) your adversary's and lunging in the 
new line. The movement of raising your point should be 
effected by the fingers only, and not by drawing back the arm. 

The Cut-Over is a dangerous attack in the hands of a strong, 
quick fencer, for it is difficult to parry and can be changed 
instantly into a parry or an attack of a different description. 
The great danger in executing it is to slap, and to throw the 
point wide. To avoid this, practice slowly at first, and be sure 
to throw up your hand when delivering your point. 

FEINT ATTACKS. 

These form the second group of Primary Attacks, and con- 
sist of the One-Two, the One-Two-Three, etc., and the Double. 

A feint is, of course, a false thrust, made to deceive the ad- 
versary into thinking it a real one. It is made by extending 
the arm as in a lunge, but not moving any other part of the 
body, excepting, perhaps, a slight advance of the right foot. 
It is, in fact, exactly the same movement as extension. In 
feinting stretch the arm well out, the point directed full at the 
adversary's breast, else he will not be deceived by the move- 
ment. 

ONE-TWO. 

This is executed by feinting in one line and really lunging 
in the original line of engagement. Thus, being in quarte, 
drop your point under and extend your arm as if to lunge in 



134 FENCING. 

sixte, but, instead of doing so, the moment lie parries move 
your point back again and lunge in quarto. You can feint in 
any line and lunge in almost any other, so that the combina- 
tions are numerous. A feint of cut-over may be substituted 
for the simple extension to vary your play, although this is 
rather difficult to execute. 

ONE-TWO-THBEE. 

This is a group of two feints (made by extending your arm 
and dropping your point under his and back again on his 
parry), followed by a final lunge, your third movement. Thus, 
being in sixte, feint in quarte, then in sixte, and lunge finally 
in quarte. The movement made in feinting should be as 
narrow and rapid as possible. 

DOUBLE. 

You cannot execute the One-Two if your opponent parries 
by a counter, that is a circular parry, but you can get out of 
its way by going round it, i. e. by describing a circle yourself 
and lunging in. Thus if, when from quarte, your feint in 
sixte is met by the counter of quarte, simply raise youi point, 
circle round his blade again and thrust in sixte. This is a 
Double, and is a combination of the disengage and the counter- 
disengage. A little pratice in this attack will reveal to the 
pupil its great utility. A good check to the Double is a counter 
followed by a simple parry, a strong defense in almost any 
case. 

FOECE ATTACKS. 

These are executed by means of displacing the adversary's 
blade, instead of avoiding it, as in the previous attacks. The 
Beat, the Press, the Glide and the Bind belong to this class. 

THE BEAT 

is a quick, sharp blow of your blade upon that of your oppo- 
nent, for the purpose of opening a way for your lunge which 
immediately follows. This stroke should be made with the 
hand only, and should be sharp but dry. A false beat is a 



FENCING. T 35 

somewhat lighter blow of the same kind, made to draw out 
the opponent, or to disquiet him. The beat is often followed 
by a disengage. 

THE PRESS 

is analogous to the beat, excepting that, instead of striking 
the adversary's blade, you give it a sudden pressure, heavy 
enough to force it aside and make way for your lunge. The 
traverse is a species of press made by continuing the push, 
sliding your blade along his, and then forcing your point. 

TIIE GLIDE. 

This, again, is a kind of traverse, but much lighter, and is 
used not so much to force your opponent's blade aside as to 
deceive him, and slide your point along towards his hilt before 
he appreciates what you are up to. The glide is most often 
used as a feint before a disengage. 

THE B.ND. 

This consists in passing your point over your adversary's 
blade and pressing it down, your forte on his foible,* and into 
the opposite low line. (Thus from high quarte to low sixte, 
called flanconade). The bind is difficult to execute, and is 
attended with much risk when engaged with a strong oppo- 
nent. It is hardly to be recommended to beginners, and is in 
any case little used. 

SECONDAEY ATTACKS. 

These are made (1) when your adversary begins to attack 
you, (2) during his attack, and (3) on the completion of his 
attack if it fails. 



1. ATTACKS ON THE ADVERSARY'S PREPARATION. 

In plain English these are attacks which you make the mo- 
ment you perceive an intention on your opponent's part to 
attack you. For instance, if you feel a pressure on your blade 

•The forte of a foil Is the thicker, and the foible the thinner half or the 
blade. 



136 FENCING. 

instead of waiting for his direct lunge or disengage, you dis- 
engage yourself like lightning, thus taking him off his guard. 
Another case is where you foresee his intention, to precede 
his attack with a "Beat." The moment he tries this movement 
you avoid the blow by dropping your point under and lunging 
smartly. All these attacks on the preparation depends upon 
judgment and the trained instinct which comes with practice. 
Generally speaking they are only to be put in practice when 
your adversary's preparatory movements take up time enough 
for you to push your own attack. If you are slow the result 
will be that both will lunge at once, and as his attack was 
begun first the point (providing he hits you) will go to him, 
for the strict rule is that he who is attacked must parry. Thus 
if A lunges at B, hitting him fairly, and B, instead of parry- 
ing, simply straightens his arm, hitting A fairly, it is A's 
point, for B should have parried. Of course, if A's point goes 
wide, and B's hits, it is B's point. 

Practice gives a man the faculty of feeling, by the touch of 
his adversary's blade, about what the latter is going to do. 



2. ATTACKS DUEING THE ADVERSARY'S ATTACK, 

or "on the development," are such as are undertaken in the 
midst of an attack upon you, and are mostly time attacks. 
They are very like the preparation attacks, excepting that they 
are begun a little later. The Bind is a common attack on the 
development, it being made easier for you by the fact that 
your opponent is nearer you than when he is on guard. 



3. ATTACKS ON THE COMPLETION 

are such as you undertake when your adversary has attacked 
but failed to hit you, and are called Ripostes. 

Suppose, being in quart © , he attacks you with the one-two, 
and you parry successfully his lunge in quarte. The moment 
his point passes you, straighten your arm and hit him before 
lie can recover himself. As he is stretched out in lunge it will 



FENCING. 



137 



take him some time to jump back on guard, during which, if 
your parry was not too wide, and your riposte accurate, he is 
'your meat." (See fig. 20.) 




FIG. 20.— KIPOSTE AFTER PARRYING QUARTS. 



The great mistake made by beginners in riposting is in 
moving the body. This is quite unnecessary, as your ad- 
versary, being in lunge, is very near you, and in moving 
forward you only overreach yourself and your riposte will be 
apt to fly wide. 

A good rule, and one which characterizes all really good 
fencers is never to omit to riposte after your adversary's attack. 
Beginners nearly always forget to do this, being satisfied to 
have parried successfully. A master of the riposte is a dan- 
gerous man, for his adversary knows that if his attack fails he 
is lost. Remember that you cannot riposte if your parries are 
too wide, for by the time you bring your blade back into line 
your adversary is on guard again. Again, if your lunge has 
been parried and your adversary ripostes , get back on guard 
like a flash, at the same time parrying in your turn, and 
throwing in your point, which is apt to hit him if you are very 
quick. In fig. 21 Right has lunged quarte ; Left has parried 
and riposted, but Right has drawn back his hand in tierce 
quickly enough to parry Left's riposte. Now, if Right is 



138 



FENCING. 




Fig. 21.— Tierce Parky of Direct Eiposte. 



quick enough, he can, as he jumps back on guard, straighten 
his arm again and riposte in his turn. To see a good fencer 
lunge out freely and fearlessly, and, failing to hit, parry the 
riposte successfully, and finally score in his turn by a counter- 
riposte, is a very pretty sight. Beginners are recommended 
while getting back on guard after an unsuccessful lunge, to 
execute a quick counter-parry. This frequently stops' a 
riposte. 



FALSE ATTACKS. 

These are not feints, but broader movements calculated to 
draw out your opponent and make him attack you, or in order 
< o discover what parry he is likely to use. Most fencers have 
certain favorite parries which they use constantly. On cross- 
ing blades with a swordsman whose strength and style are 
unfamiliar, it is an excellent plan to employ a false attack, 
which will be likely to make him show the kind of parry he 
habitually relies upon. Falseattacks are of almost all descrip- 
tions. Thus, straightening the arm, changing the line of 
engagement, a step in advance, in short, any movement that 
will make your adversary belive you are really attacking him, 
is a falso attack. A favorite one is to uncover yourself a trifle! 



fencing. 139 

in order to draw a straight thrust or a disengage from your 
adversary. The execution of these attacks depends, of 
course, on judgment alone, as does also the power of dis- 
tinguishing between a true and a false attack. 



THE GEAND SALUTE 

is a series of manoeuvres executed by two combatants for the 
purpose of "limbering up" and usually precedes a formal 
assault. 

Although difficult to master without a teacher, it is given 
below in the words of H. A. Colmore Dunn, a well-known 
English amateur : 

" The two opponents come forward, equipped in all respects 
for assault, with the exception of the masks, which they carry 
in the ieft hand, and place on the ground beside them on the 
left. 

" Then, standing face to face, foil in hand, just out of lunging 
range of the one with the longer reach, the two opponents 
together assume the preliminary position, and thence proceed 
to the position of guard, engaging their blades in quarte, foible 
to foible, before advancing the right foot. 

" Thereupon, one of the two, either the more honorable or 
the one chosen by agreement beforehand, proceeds to measure 
the distance between himself and his opponent, while the 
other goes back to the preliminary position in order to leave 
the way open. 

" The one who is selected to open the attack takes distance 
in the following manner : First he comes to the upright po- 
sition; then straightens his arm with the hand well raised up 
and in supination, and then lunges out so as to bring his point 
close up to the defender's breast, but without touching it. 

"After taking distance, the assailant resumes the upright 
position, and draws back the hilt of his foil close to and on a 
I evel with his mouth, the point directed straight upward. The 
defender, watching his actions, lowers the hilt of his foil so as 
to take up a like position at the same time. 

" Then both togethar proceed to salute, first to left then to 
right, as follows : They begin by showing the parry of quarte, 
carrying hand, arm, and point farther over to the left than in 
the ordinary way of forming the parry, so as to emphasize the 
movement; then, on the return from the parry, they bring 
the hand back on a level with the mouth , and, changing the 
hand into pronation by a turn of the wrist, show the parry of 
tierce in a like pronounced manner. 



140 FENCING. 



"After this both the opponents go through the movements 
necessary to bring them from the preliminary position to that 
of guard, as before, crossing the blades previously to advanc- 
ing the right foot. 

" The assailant then proceeds to pass a series of disengages 
—say four— to which the defender offers the corresponding 
parries. 

"Thus, the assailant disengages into sixte, and as the arm 
is straightened in that line, the defender parries tierce with a 
crisp tap, taking care not to harsh his blade. On feeling the 
*j»arry, the assailant smartly reverses his foil, turning the 
yoint toward, and so as to pass close beside his left ear, the 
/tilt resting on the back of the hand, and the grip being held 
by the thumb and first finger only, while the other fingers are 
Tanged beneath the first ; and he lunges in with the pummel 
directed toward the defender, whom he keeps in view by 
carrying his hand far enough to the left to leave an opening 
between arm and blade. 

" In order to make way for the lunge, the defender drops his 
j>oint from the parry of tierce so as to show the parry of 
vctave, only carrying the point far enough across the body of 
ihe assailant to avoid hitting him on the move forward. 

" On the assailant's recovering from the lunge, the opponents 
form the engagement of sixte or tierce. Again the assailant 
disengages, and, on the parry of quarte from the defender, 
reverses his foil as before, but directs the point toward and 
clear of his right ear, and in lunging with the pummel toward 
the defender, his hand is carried far enough to the right to 
enable the assailant to see him between blade and arm. 

" Here, to make way for the lunge, the defender shows the 
parry of septime, carrying the point across the body of the 
assailant to the other side. 

"The remaining disengages are given and received with a 
repetition of the same movements as in the first two disen- 
gages. 

" In delivering the first and last lunges, the assailant dwells 
a little time; but he passes the intermediate disengages as 
fast as possible. 

"On recovering from the last lunge, the assailant shows a 
r>ne— two without lunging, and the defender shows the parry 
of tierce, so that on this occasion the blades do not come in 
contact; and then both of them resume the upright position, 
the assailant raising his point as in the preliminary position, 
and the defender proceeding to imitate in all respects the 
actions of the assailant in taking distance. 

"This done, the former defender becomes in his turn the 
assailant, and the latter now assumes the character of de- 
fender, each of them going through the same movements as 



FENCING. 141 

his predecessor in the past, saluting; in quarte and tierce, 
disengaging and parrying as before laid down. 

" On the feint one — two of the now assailant, bofh opponents 
resume the upright position and fall on guard, not in the 
usual way, but with a backward movement of the left foot 
about twice its own length, and with the hand in the position 
of tierce. 

" Next they both beat twice with the right foot, resume the 
upright position by bringing the left heel up to the right, and 
salute in quarte and tierce. 

" In conclusion, both opponents come on guard as from the 
preliminary position, beat twice with the right foot, bring 
the left heel to the right, and salute one another by carrying 
the hilt up to a level with the mouth, the point directed 
upward, and then lowering hand and point to the positioa 
of seconde." 

THE ASSAULT. 

All that we have learned in the preceding pages is but pre- 
liminary to formal fencing, called, when in public, an " assault," 
and in the fencing-room a " friendly bout" or "loose play." 

If you are studying under a master, never fence for points 
until he thinks you sufficiently advanced, and always take the 
lesson first ; or, if no master is present, practice thrusts and 
parries with your friends. Begin every bout by saluting your 
adversary before falling on guard, and whenever you are hon- 
estly touched, never fail to acknowledge it by saying " touch." 
Kemember that fencing without perfect courtesy is not fenc- 
ing at all, and if you find a man who habitually fails to 
acknowledge hits, my advice is to avoid crossing foils with 
him. If you are hit on any part of the person outside the 
prescribed lines, you must acknowledge it all the same, as 
such a hit stops the bout until both combatants have crossed 
blades again on guard. Thus if you are hit on the mask or 
arm, call out " on the mask ! " or " on the arm !" Do not for- 
get that, if attacked, you must parry, and that, when both 
lunge together, the touch is usually counted to the one 
who made the last parry. As the rules of the Amateur 
Fencers' League of America govern all the contests in 
this country, fencers are recommended to study them care- 
fully, and to accustom themselves to them. For instance, 
if possible always fence within a space twenty feet long by 



14* FENCING. 

three feet wide, and let each bout consist of five points. One 
exception, however, is recommended in friendly bouts. Count 
every hit on every part of the jacket between collar and belt, 
and not only those of the right side of the middle line, as pre- 
scribed by the A. F. L. A. This is so as to get used to parrying 
all hits. Moreover, the median line rule is one that obtains in 
America alone, being unknown abroad. It is a good one for 
us, however, as it encourages accuracy, and leaves less space 
for the somewhat random hits of the "slasher" and the 
"rusher." Disarming does not count and should never be 
done intentionally. 

Bemember that no hit counts that is made by a stab, that is, 
a blow made by drawing the elbow back beyond the body. 
Fence lightly, for the heavy-handed man will, other things 
being equal, always be beaten, and will tire first, on account 
of his waste of energy. 




the: sabre:. 

The blade of a sabre is divided into edge, point, back, heel 
and tongue, the last-named part being that piercing the 
handle. The handle is divided into a guard and a grip. 

TO HOLD A SABRE CORRECTLY, 

Grasp it firmly with the fingers, placing tho thuMmfalong 
the back of the grip. 

PRELIMINARY POSITION. 

Stand with the heels together and the feet at right angles, 
the right arm extending down near to but not touching the 
body, and the point of the sabre four inches from the t : <?or. 
From this position three movements are necessary. 




Pia. 22.— TO COJH.E O.N GL'AIJD. 



144 



FENCING. 



TO COME ON GUARD. 

1. Raise the right arm until the sabre, in a straight line 
with it, is horizontally extended toward the opponent's head, 
nails downward, and the hand opposite your own eyes. (See 
fig. 22.) 

2. Execute two vertical moulinets, first to the left and then 
to the right, and bring your hand, nails down, and the arm 
half bent, opposite your shoulder, your point being directed 
towards your adversary's eye. 

3. Bend the legs and advance the right foot from twenty 
inches to two feet. (See fig. 23.) 

MOULINETS 

Are circles cut in the air by the sabre from right to left oi 
from left to right, the hand bein^ reversed in the process. 



VERTICAL MOULINETS 




FIG. 23. —ON GUARD. 



Are circles made by 
letting the sabre fall 
forward and around 
vertically, the blade 
coming up either on 
the right or left side 
of your body. At the 
end of a moulinet (pro- 
nounced mootinay) the 
arm should be fully ex- 
tended. 

THE UPPER CUT 
Is a vertical moulinet 
executed by letting the 
blade fall backward in- 
stead of forward. 

The Advance, Re- 
treat, Recovery and 
Calls are the same as 
those in foil practice. 



FENCING. 

THE LUNGE 



145 



Is usually begun by a moulinet or under-cut. The legs and 
body advance as in foil practice. The left hand in sabring is 
always held in the small of the back, usually grasping the belt 
or strap. (See fig. 24.) 




FIG. 24:.— THE LUNGE. 



THE ATTACK 



Is either simple or compound. The simple attack consists of 
the thrust, and cuts at different parts of the head and body. 



HEAD CUT. 

Raising your point over your opponent's blade, extend the 
arm, and cut down onto your adversary's head, drawing back 
your hand so as to make the edge cut. Get back on guard 
with the greatest quickness. Opposition should be used in 
every sabre cut and lunge, as in foil. (See lig. 25.) 



I4<> 



FENCING. 




FIG. 25.— HEAD CUT AND PARRY. 



LEFT CHEEK CUT. 

Raising your point over your opponent's blade, extend your 
arm, turning the hand to quarte, and execute a drawing" cut 
on your adversary's left cheek. Recover quickly. (See fig. 36.) 




FIG. 26.— LETT CHEEK CUT AND PARRY. 



147 



The Right Cheek Cut is executed •when on guard in quarts 
(See fig. 27.) 




FIG. 27.— EIGHT CUT CHEEK AND PABBY. 



BREAST CUT. 
This is like the Cheek Cut, excepting that the object of the 
slash is the chest. (See fig. 28.) 




FIG. 28.— CHEST OUT AND TABBY. 



148 



FENCING. 

WAIST OR GIRDLE CUT. 



Carry your point under the adversary's blade, extend the 
arm, turning- the hand to quarte, and execute the drawing out 
across his -waist. Recover as always. (See fig. 29.) 




FIG. 29.— WAIST OR GIRDLE OUT, 



FLANK CUT. 

Drop your hand, extend, and slash the adversary's hip 
(See fig. 30.) 




FIG. 30.— FLANK CUT AND PARRY. 



FENCING. 



149 



THIGH CUT. 

This is like the preceding, only its object is the adversary's 
thigh. Of course the opponent's right breast, waist, flank 
and thigh can also be attacked, the movements, from the 
regular guard, not requiring the avoiding of his blade; but 
these attacks are somewhat easier to parry. (See fig. 31.) 




FIG. 31 .—THIGH CUT, ESCAPE, AND AEM CUT 



POINT THKUST. 

Drop your point under, extend, and lunge quickly, the edge 
of the sabre being turned up. (See fig. 32.) 




"EIQ. 32.— POINT THRUST. 



150 FENCING. 



ARM CUT. 



There are several ways of executing this. You may use a 
combination of the glide and press and cut the upper side of 
the adversary's arm, turning your hand over as you strike. 
You may force his blade aside with a beat and cut in sharply. 
You may pass under his blade, extend your arm, turning the 
hand, and cut his wrist or forearm. 

This cut is a very good one when the adversary's guard is 
careless. Figure 31 shows an arm cut made by taking a short 
step just out of range when the adversary attacks, and deliv- 
ering the cut when his arm is extended. 

THE PARRIES. 

All parries are made by catching the adverse blade on the 
heel of your sabre, and edge to edge. 

HEAD PARRY. 

Hold your weapon horizontally in front of the crown of 
your head. (See fig. 25.) 

CHEEK PARRY, LEFT OR RIGHT. 

To parry a cut at your left cheek, raise your hand to a posi- 
tion opposite the left breast and a few inches from it, the 
sabre blade pointing upward, forward, and a trifle towards 
the right. (See fig. 26.) The Right Cheek Parry is the same, 
only executed on the right side. (See fig. 27.) The cheek par- 
ries are also used against shoulder cuts. 

BREAST AND GIRDLE PARRIES. 

Hold the sabre forearm horizontally across the upper chest, 
she blade hanging almost vertically, about six inches from the 
aody, the edge towards the left. (See figs. 28 and 29.) 

FLANK PARRY. 

Ho.\» the hand just beyond the body at the right, opposite 
the wai t, the blade pointing downward, the edge to the right. 
(See fig. ao.) 



JFENODM. 151 

TO PARRY POINT THRtJSTS 

c/se the common parries of tierce, quarte, or, in the low lino-i 
seconde. In fig. 30 a point thrust in the low lines is being par- 
ried by seconde. 

TO AVOID ARM CUTS 

Draw your sabre hand back out of range, or oppose your blade 
in time. 

AVOID THIGH CUTS 

By escaping to the rear, or, in other words, by withdrawing 
the leg which is attacked. (See fig. 31.) This is well to prac- 
tice, although, as a matter of fact, no cuts are counted below 
the hip by the rules of the A. F. L. A. 

THE RIPOSTE. 

Never riposte until you are sure of being covered, or that 
your adversary's blade is not in dangerous proximity. Riposte 
at the nearest or most exposed part of your opponent's per- 
son, which is most frequently his arm. (See fig. 31.) 

THE TIME THRUST 

Is an attack on the adversary's development, and is either a 
Point Thrust or an Arm Cut. (See fig. 33.) On his Head Cut 
you can escape and slash his arm. Also upon his Thigh or 




FIG. 33— TIME THRUST. 



152 FENCING. 

"Waist Cut. (See fig. 81.) On his Flank Cut execute <? ?o*». 
Thrust at his breast with strong opposition. 

THE STOP THKUST 

Is an attack on the adversary's preparation. It is usually a 
Point Thrust or Arm Cut aimed at the nearest part of the 
adversary's person the instant he begins his attack. The 
Stop Thrust should be followed by an escape to the lear, in 
order to avoid being hit at the same time. 

COMPOUND ATTACKS 

Are, of course, the numerous combinations ef the simple ones 
already described, and are met by one of the simple parries or 
a series of them. Experience will soon put the beginner on 
the right track, both in the matter of feints and parries. 

GENERAL REMARKS. 

When fencing with the sabre be sure that you are well pro- 
tected, for some nasty cuts can be dealt with even a dull blade. 
The neck and right arm especially should be carefully padded, 
and the mask strong. The rules of sabre matches will be 
found in the accompanying laws of the A. F. L. A. 




FENCING 153 



FENCING RULES 

Adopted at a General Meeting of the Amateur Fencers League of 
America, May 10, 1905. 

FOILS 

1. Foil competition shall be conducted by three or 
more judges (one of whom may act as director) for 
each bout, who shall be experienced Amateur Fencers, 
selected from different clubs, if possible, and whose deci- 
sion shall be final and without appeal. There shall also 
be a timer, who shall time the bouts in accordance with 
rule three. 

2. Each contestant shall fence a bout with every 
other contestant, except when the total number of 
entries for finals exceeds seven, in which case semi- 
finals shall be held. The contestants shall be divided 
by lot into squads of from four to six each, and the two 
highest men in each section shall meet in the finals. 

3. Each bout shall consist of four minutes actual 
fencing, and contestants shall change positions after two 
minutes. Contestants shall come on guard, in the mid- 
dle of the space, at the command of a judge. 

4. Each judge shall make his final award without 
consulting his fellow judges, taking into account the 
general bearing of the competitors, the number and 
value of touches and the general form shown in defense 
and attack. 

5. Touches shall count only when made upon the 
body, within the limits bounded by the collar of the 
fencing jacket and the median line, the hip, and a line 
drawn from the hip to the posterior limit of the armpit 
around the front of the arm and along the crest of the 
shoulder to the collar. A touch on any part of boundary 
line shall count. 



154 FENCING 

6. When a touch is made outside the limits and it is 
evident to the judges that it would have been good if 
the adversary had not made an illegitimate movement, 
it shall count. 

An illegitimate movement is the one by which the 
adversary seeks to avoid a touch within the limits pre- 
scribed by purposely presenting some other part of his 
body to the point of the weapon. 

7. The competitor attacked should parry. If a stop 
thrust b3 made it shall only count in favor of the giver, 
provided he be not touched at all. 

8. A touch, whether fair or foul, invalidates the 
riposte. 

9. A touch is of no value when the point is twisted 
on to the body after the slap of the foil. 

10. The judge must stop a corps-a-corps as soon as 
made. 

11. A disarmament is of no value. A touch immedi- 
ately following a disarmament counts. 

12. A point scored from a thrust started with the 
elbow behind the body (jab thrusts) shall not count. 

13. Each contestant shall fence with the same hand 
throughout the bout. 

14. Competitors shall wear clean white fencing jack- 
ets. The jacket of each competitor must be covered 
with chamois within lines described where touches count. 
(See Rule 5.) 

15. Contestants shall fence within a marked space 
of twenty feet long and thirty-six inches wide, with a 
mark plainly indicating the middle. 

16. When a contestant oversteps the limits a judge 
shall stop the bout and each judge shall award a touch 
to the opponent of the man overstepping these limits, 
and the director shall start the contestants again, in the 
middle of the marked space. 

17. Should a competitor seek to evade the point of 
the attacking weapon by movements inconsistent with 



FENCING 155 

good form (such as corps-a-corps, ducking or dodging) 
the judges may award a touch to his opponent. 

18. Foil blades shall not exceed thirty-four inches in 
length. 

19. Contestants should acknowledge all touches in an 
audible voice. A persistent failure to do so is an offense 
against form and shall be considered by the judges in 
making the final award. 

DUELLING SWORDS 

1. Duelling sword competitions shall be conducted by 
three or more judges for each bout, who shall be experi- 
enced Amateur Fencers, selected from different clubs, 
if possible, and whose decision shall be final and with- 
out appeal. 

2. Each contestant shall fence a bout with every 
other contestant for one touch. Each touch shall count 
one point. 

3. A judge, upon seeing a touch, shall stop the bout, 
and thereupon a vote shall be taken. A touch shall be 
awarded only upon the agreement of a majority of the 
judges. Neither judges nor contestants shall discuss 
the touches made or claimed, nor shall any comment be 
made upon them. 

4. Sword tips shall be chalked merely to aid the 
judges in arriving at a decision; a chalk mark is not 
conclusive evidence of a touch. 

5. The contestant receiving the lowest number of 
touches shall be declared the winner, the next lowest 
second, and so on. 

6. A touch on any part of the adversary counts. 

7. A disarmament is of no value. A touch immedi- 
ately following a disarmament is valid. 

8. If both contestants are touched simultaneously, 
the judges shall declare a touch against each man. If, 
however, it is clear to the majority of the judges that 
one touch is perceptibly ahead of the other, the touch 
shall be considered good. 



156 FENCING 

9. The diameter of the bell guard shall not exceed 
five and a quarter inches i^A), and the blade shall not 
be more than thirty-four (34) inches long. 

10. Each competitor shall wear a dark fencing suit 
and a dark glove. 

SABRES 

1. Competitions with sabres shall be held before a 
jury of three or more judges, one of whom may act as 
director. 

2. Sabre blades shall not exceed 33 inches in length; 
and shall not be more than % inch, nor less than % in 
width at the base, tapering to not more than % inch, 
nor less than % at the point. 

3. All contests to be for a total of seven touches 
(cuts or points). 

4. A competitor not parrying and returning after be- 
ing touched, whether fairly or foully, shall be penalized 
y% point. 

5. A cut or thrust on any part of the body above 
the hip shall count. 

6. Contestants shall touch blades and retreat one 
step after each touch, whether valid or not. A contest- 
ant failing to comply with this rule will be penalized 
y 2 point for each offense. 



FENCING 



RULES 
GOVERNING COMPETITIONS 

1. A championship meeting shall be held annually, 
and at such time and place as may be designated by 
the Board of Governors of the A. F. L. A. 

2. Division meetings shall be held at such time and 
place as may be designated by the Division Committee. 
Each Division shall hold a meeting at least two weeks 
prior to the National Championship, which shall be 
considered a preliminary to the Championship Meeting. 

3. No fencer shall be eligible to enter the National 
Championship (except as provided in Rule 4, following), 
unless he shall have attained a score in foils, swords and 
sabres, of at least GO per cent, of the possible number 
of points to be obtained at such meeting. 

4. A medal man of preceding years shall be privi 
leged to fence for championship honors without qualify- 
ing in the preliminaries, provided he has not been de- 
feated at any intervening championship. 

5. The judges and scorers shall be appointed by the 
Board of Governors and a record kept of all fencers at 
championship meetings. 

6. At the Division Contests (preliminaries), the 
judges and scorers shall be appointed by the Division 
Committee, and a list of all fencers taking part and 
qualifying in the preliminaries properly endorsed by the 
Division Committee, shall be transmitted to the Secre- 
tary of the League within seven days after such meeting. 

7. When more than three teams compete, all fencing 
with the same weapons, they shall be drawn in pairs. 
Team No. 1 meeting No. 2 and the winner shall meet 
the winner of the contest between Teams No. 3 and 4, 



158 FENCING 

etc. No team shall be entitled to more than one bye. 

8. Before all competitions the judges shall inspect 
the weapons and costumes of all contestants, and dis- 
qualify those whose equipment violates any of the rules. 
Any weapon of defective temper shall be ruled out. 

9. As far as practicable the judges will separate the 
representatives of the same Club or Division into the 
various squads. 

Definition. — A Novice is a fencer who has never won 
a prize in any open competition. 

A Junior is a fencer who has neither won a first 
prize in an open competition, save in a novice class, nor 
a place in national championship. 

Admission to all A. F. L. A. Contests Free to all 
Members of the League. 

W. SCOTT O'CONNOR, Secretary, 

53 Broadway, New York. 



ACCEPT NO 
SUBSTITUTE 



THE SPALDING 



TRADEMARK G M?v ES 



Figure Eight Foils 




Spalding Fencing Foils 



Bell Guard Foils 



No. 7. Iron mountings, "figure 8" guard, corded 

handle. Per pair, $1.50 

No. 1 1 . Blued mountings,"figure 8" guard.corded 
handle, blued pommel, 34-inch blade. Pair, $2.50 
No. 18. Mountings, "figure 8" guard, pommel of 
brass, corded handle, 34-inch blade. Pair, $3.00 
No. 17. Special "Club" Foil, nickel-plated and 
polished, improved "figure 8" guard and pommel, 
special corded handle, 34-in. blade. Pair, $4.00 
No. 14L. Ladies' Foil, nickel-plated and pol- 
ished, "figure 8" guard, plush covered handle, 
mountings polished and plated, engraved 32-in. 
blade Per pair. $4.00 



J 

Showing simple method of detaching blade. 

No. 2X. Army and Navy Style. Approved pat- 
tern as used at West Point and Annapolis. Special 
detachable blade may be taken out in a moment, 
yet when screw in guard has been tightened the 
blade is absolutely tight and rigid. Pair, $5.75 
No.D. Detachable blade for No. 2X foil. Ea., .70 

Fencing Swords 




No. 10. Haute Rapier, finest 
steel. Pair, $10.00 



No. 15. Combat Sword, regulation style. $7.50 

No. 20. Broadswords, regulation style. 11.50 

No. 30. Broadswords, wood 2.00 

Sword Blades 
No. 1. For Rapier No, 1 0. . . . Each, $1.50 

No. 1%. For Sword No. 15. ... " 1.75 

No. 2. For Sword No. 20. . . " 2.50 



Spalding Special Mm\ Duelling Sword 




No. 4X. Nickel-^/" plated and polished fit- 
tings, fine quality'*^ three-cornered blades, 
handleleathercovered and wound with silver cord, 
reinforced 5-inch bell guard, heavy pommel, orna- 
mented. Well made, superior quality. Pair,$ 11.50 
Extra blades for duelling swords, three-cornered, 
best quality. .. ,.,.,... Each. $3.00 



No. 15. Nickel-plated bell guard, corded handle, 
mountings nickel-plated, 34-in. blade. Pair,$2.75 
No. 19. Nickel-plated and buffed bell guard, 
corded handle, mountings nickel-plated and pol- 
ished, selected 34-inch blade. Per pair, $3.50 
No. 23. Reinforced bell guard, all mountings 
nickel-plated and highly polished, corded han- 
dle, fine 34-inch engraved blade. Pair, $5.00 
No. 24L. Ladies' Foil, small bell guard and all 
trimmings nickel-plated and polished, plush cov- 
ered handle, fine 34-in. engraved blade. Pr.,$4.00 
Spalding Special 
Italian Pattern Foil 



We carry in stock two of the most popular models 
of Italian style foils. Product of two of the best 

makers in Europe. Perfect in every detail. 
No. 9. Gennari Model, regular finish. Pr.,$ 1 0.50 
No. 16. Special Model, finely finished picket fit- 
tings Per pail^ $11.50 

Extra blades for Italian pattern foil, flat style, best 
quality Each, $1.25 

Italian Style Rapiers 





No.160. Radaelli Model, nick- 
eled mountings. Pair, $11.50 
No. 170. Masiello Model, ja- 
No. pannedmountings.Pair,$8.25 
180. MasielloModel.nickeledmountings." 10.50 
220. Barbasetti Model.japanned mountings. 9.25 
230. BarbasettiModel, nickeled mountings. 10.50 
Blades for any of above models. . Each, 2.50 
Chiave, wrench for mounting and dismounting 
blades Each, 50c. 

Fencing Sticks 




No. 40. Sticks, complete. Pair, 80c. « 
No.41. Willow Basket Handles, 40c. \> 
No. 42. Hickory Sticks only. Pr..40c. 
/g^ No. Foil Blades 

W A. FineSolingen St.el Blades, 34-in.Ea.,70c. 
If B. Fine Brunon Steel Blades. 34-in. " 70c. 
NoTc C Rubber Foil LiuUoua. a Per pair, 10c. 



PROMPT ATTtKTIOH GIVEN TO | 
INT COMMUNICATIONS 
ADDRESSED TO US 9 



A. G.SPALDING & BROS. 

STORES IN ALL LARGE CITIES 



FOR COMPUTE UST OF STORES 
SEE INSIDE FRONT COVE? 
' OF THIS BOOt * 



Price* in eff eel January 5, 1915. Subject to change without notice. For Canadian pricet tee special Canadian Catalogue. 



ACCEPT NO 
SUBSTITUTE 



THE SPALDING 



TRADEMARK 'SW 






Spalding Foil Masks 
Close mesh and strongly made. Trimmed with black 
patent leather, padded head spring and chin piece. 

No. 1. Face guard only Pair, $2.75 

No. 2. Face and ear guards 3.50 

No. 3. Face, ear and forehead guards. . . 4.00 

Spalding Foil and Broadsword Masks 

No. 42. Close mesh and heavy wire. . . Pair, $8.00 
No. 41. Heavy reinforced twisted wire. . 14.00 

Spalding Broadsword Helmet 
No.4. Heavy wire, reinforced. Well padded. Pair,$10.00 

Spalding Fencing Plastrons 
Good quality leather; heavily padded and quilted. 

No. 2. Chest and right side Each, $2.50 

No. 3. Chest and right "and left side. . . " 3.00 

No. 3L. Women's. Same as No. 3, but shaped for waist. 3.00 

Spalding Fencing Jackets 

No. C. Special quality brown canvas, with collar. Each, $3.50 
No. M. Same as No. C, but of good quality moleskin. " 4.50 

Spalding Foil Gloves. Made in Rights or Lefts 

No. 1. Short soft leather cuff, nicely padded. . Each, $1.25 
No. 2. Gauntlet of soft leather, nicely padded. 1.50 

No. 3. Patent leather, stiff elbow gauntlet, padded. " 2.00 
No. 6. Ladies' White buck Gauntlet Glove. . " 1.25 

No. 61. White buck, with Gauntlet " 1.50 

No. 63. White buck leather, soft gauntlet. . . " 2.00 

Spalding French Duelling Gloves. (Mousquetaire Pattern) 

No. D. Soft leather, extra long soft gauntlet. Each, $2.50 
No. 60. Unpadded, flexible white buck leather. " 1.25 

Spalding Broadsword Gloves 

No. 5. Full padded, stiff elbow gauntlet. . Each, $3.50 
No. 7. Same as above, but shorter cuff. . . 3.00 







PROMPT ATTENTION GIVEN TO | 

ANY COMMUNICATIONS 

ADDRESSED TO US 



A. G. SPALDING & BROS. 

STORES IN ALL LARGE CITIES 



FOR COMPLETE LIST OF STORES 
SEE INSIDE FRONI COVEP 
OF THIS BOOK >» 



Pricet in effect January 5, 1915. Subject to change without potice. For Canadian prices tee special Canadian Catalogue.' 



sS^Ke THE SPALDING 




TRADEMARK G K T T E v ES 



QUALITY 



SPALDING CANVAS TOP GYMNASIUM AND BASKET BALL SHOES 



****5t 




hoes, but of ^<'^J.- \» \ 

thick as on & " O \ * 



No. HB. Boys'. 2K to 5; 



No. HH. High cut. white canvas uppers. Sole surf; 
is similar to our popular gy 
white, best quality rubber, 

rubber sole canvas gymnasium shoes 
Men's sizes, 6 to 12, inclusive. 

Pair, $2.25 * $24.30 Do 
HHB. Boys', iy 2 to 5'A ^ 
inclusive. Otherwise I 

same as No. fill. ■ 

Pair. $2.00 

if $21.60 Doz 
No HHX. Youths'. I 

to 2. inclusive. Other- 
wise same as No. HH. 
Pair. $1.80 

* $19.44 Doz. 

No. H. Men''s. same 

as No. HH, but low cut. 

Sizes. 6 to 12, inclusive. 

Pair, $2.00 

* $21.60 Doz. 
inclusive. Otherwise as No. H. I No. HX. Youth: 

Pair. $1.75 * $18.90 Doz. \ 



N^i 




No. IH 
II to 2, inclusive. Otherwise as No. H. 
Pair. $1.60 -k $17.28 Doz. 



Spalding Canvas Shoes, with Rubber Soles 

MEN'S— Sizes, 6 to 12, inclusive. j YOUTHS'-Sizes, 1 1 to 2, inclusive. BOYS' -Sizes, Z% to 5',, inclusive. 
No. IH. High cut, best quality white' No. IHX. High cut, best quality white ; No. 1HB. High rut, best quality white 
rubber soles. Men's, white canvas; worn- rubber soles. Youths', white canvas; rubber soles. Boys', white canvas; girls'. 



en's, black. Pair. $1.75 * $18.90 Doz. 
No. I. Low cut. Otherwise as No. IH 
Pair. $1.50 * $16.20 Doz. 
No.M. High cot. Pr.,.90 * 9.72 " 
No. K. Low cut. ".80* S.64 " 



misses.black. Pr.,$1.40* $!/./.» Doz.' black. . . Pair. $1.60 * $17.28 Doz 
No. IX. Low cut. Otherwise same No. IB. Low cut. Otherwise same 
as No. IHX. Pair. $1.25 if $13.50 Doz. \ as No. IHB. Pair, $1.50 * $16. 20 Doz. 




No. MX. High cut. .80 * 8.64 
No. KX. Low cut. .70* 7.56 

t SpaldingClogShoes 

No. 1-0. Goatskin uppers. 
Specially seasoned wood 
soles. . . Pair. $4.00 



No.MS. Highcut. Pr.,.85* 9. IS 
No.KB. Low cut. " .75* 8.10 



No. 1-0 
Clog Shoe 




Spalding 
Fencing Shoes 

No. L. Drab Glove Lea- 
ther, red trimrnings. Not 
carried in stock. Specify 
on order if to be made with or without 
toe extension sole, and on which shoe. Pair, $5.00 
No. LW. Women's. Otherwise same as No. L Pair. $5.00 



Gymnasium and Acrobatic Shoes 

No. FS. Flexible Soles. Special acrobatic 
shoes. Leather uppers, very high cut, and 

soft leather soles Pair. $3.00 

No. FL. Extra high cut acrobatic shoes. 
(Patent applied for.) Special leather soles. 
11 not harden. Shoes are reinforced 
where upper and sole are at- 
tached Pair. $1.50 

FE. Extra high cut. best quality 

canvas shoes with leather 

es. Especially for acro- 

icwork. Pair. $1.25 

if $13.50 Doz. 

No. E. Low cut 




35c. 



tolies opposite items marked with # will be quoted only on'orders for 
NOT allowed on iUrm NOT marked wxth • 



No.GWH. High cut. Special pearl colored leather. 
Flexible soles. Well made. . . . Pair. $1.50 
No.GW. Low cut, otherwise as No.GWH." 1.25 
-half dozen pairs or more. Quantity prices 



PROMPT ATTENTION GIVEN TO 

ANY COMMUNICATIONS 

ADDRESSED TO US 



A.G.SPALDING &. BROS. 

STORES IN ALL LARGE CITIES 



COMPLETE LIST OP STORES 
INSIDE FRONT COVTJt 
i^ Of THIS BGOt 



Pricet in effect January 5, 1915 Stftject to change without notica. For Canadian price* ••« apacial C a n adian CataJogua. 



ACCEPT NO 
SUBSTITUTE 



THE SPALDING 



TRADEMARK G S T T E v ES 



SPALDING GYMNASIUM SHOES 





Shoes must be comfortable and easy, yet fit snugly and give the wearer a wire footing — the 
Spalding Gymnasium Shoes possess all of these good qualities anc 

No. 15. High cut, kanga- 
roo uppers, genuine elk- 
skin soles. Will not slip 
on floor; extra light. The 
correct shoes to wear for 
ng. Pair. $5.00 

No* 155. High cut, elk- 
skin soles, and will not 
slip on floor; soft and flex- 
ible , women's and men's 
si^es. . . Pair. $4.50 

No 166. Low cut. se- 
lected leather, extra light 
and electric soles; 
men's sizes only. 

Pair. $3.00 

No. 66L. Women's. Low 

cut, extra light, selected 

ather uppers. Electric 

soles. . . Pair. $3.00 

No. 90L. Women's. Low 
cut, black leather, elec- 
tric soles and corrugated 
rubber heels. Pair. $2.50 

No. 21. High cut, black 
leather, electric soles. 
Sewed and turned 
which makes shoes ex- 
tremely light and flexible. 

Pair. $2.50 
No 20. Low cut. Other- 
wise as No. 21 Sewed 
and turned shoes. 

Pair. $2.00 
No. 20L. Women's. Other- 
wise as No. 20. Sewed 
and turned shoes. 

Pair. $2.00 

Spalding 
Special Bowling Shoes 
No. 133. Best selected 
drab chrome tanned lea- 
ther uppers with corruga- 
ted rubber soles and 
flexible shank. A perfect 
bowling shoe and very 
satisfactory also for gen- 
eral gymnasium use. 

Pair, $4.50 
No. 148. For bowling 
and general gymnasium 
use Light drab chrome 
tanned leather uppers 
with electric soles. Laces 
extremely low down 

Pair, $3.50 




PROMPT ATTENTION GIVEN TO 

ANY COMMUNICATIONS 

ADDRESSED TO US 



A.G.SPALDING &, BROS. 

STORES IN ALL LARGE CITIES 



FOR COMPUTE UST OF STORES 
SEE INSIDE FRONT COVER 



OF THIS BOOt 



effect January S, 1915. Subject to change without notice. For Canadian price* see special Canadian Catalogue 



Enron THE SPALDING 



TRADEMARK Sf 



gPALDHN(S 
MEW ATILETHC (GOODfS CATALOGUE 

The following selection of items from Spalding's latest Catalogue will give 
an idea of the great variety of ATHLETIC GOODS manufactured by 
A. G. SPALDING & BROS. v. v. SEND FOR A FREE COPY. 

SEE COMPLETE LIST OF SPALDING STORE ADDRESSES ON INSIDE FRONT COVER OF THIS BOOK 



Archery 
Ash Bars 
Athletic Library 
Attachm'ts.Che 



Bathing Suil 
Caddy 
Cricket 
Sinking 

•Un?fot S m 
Balls- 
Base 
Basket 
Cricket 
Field Hockey 
Golf 

Hand 
Indoor 
Medicine 

Playground 

VoMey 

Water Polo 
Ball Cleaner. Go 
Bandages. E.asti 
Bar Bells 
Bars. Horizontal 



Indoor 

Bathing Suits 

Batons 

Bats- 
Base Bali 
Cricket 
Indoor 

Batting Cage. Base 1 

Belts - 
Leather and Wors 



Basket Ball 
Striking Bai 

Blades. F, 

Blankets 



hie 



Caddy Badges 

Caps- 
Base Ball 
Knitted 
University 
Water Polo 

Center Forks. Iron 

Center Straps. Canv; 

Chest Weights 

Circle. Seven-Foot 

Clock Golf 

Corks. Running 

Covers. Racket 

Cricket Goods 

Croquet Goods 

Cross Bars 

Discs- 
Marking, Golf 
Discus. Olympic 
Disks. Striking Bag 
Dumb Bells 



Emblems 
Embroidery 
Equestrian Polo 
Exercisers. Elast., 



Felt Letters 
Fencing Sticks 
Field Hockey 
Finger Protectior 
Flags- 

Collegv 

Marking Golf 
Foils. Fencing 



Glove Softener 
Goals- 
Basket Ball 
Goll Ball Washer 
Golf Clubs 
Golf Counters 
Golfette 

Athletic 

Golf 
Gut Preservative. 
Guy Ropes and P< 
Gym'm Suits. Wor 



Hammers. Athletic. 
Handle Cover. Rubber 
Hangers for Indian Club 
Hats. University 
Health Pull 
Hob Nails 
Hole Cutter. Golf 
Hole R,m. Golf 
Home Gymnasium 
Hurdles. Safety 
Hurley Goods 



Indian Clubs 
Inflaters- 
Striking Bag 



Jackets. Fe 

Javelins 

Jersey. 



Lacrosse 
Lanes for Sprii 
Lawn Bowl. 



Cricket 

Field Hockey 
Leotards 
Letters 

Embroidered 

Felt 
Liniment 



Mallets- 
Cricket 

Equestrian I 
Roque 

Markers- 
Tennis 
Golf 

Masks- 
Base Ball 
Fencing 

Mattresses 

Megaphones 



M,i 



Nets- 
Cricket 
Golf Driving 

Volley Ball 
Newcomb 
Numbers, Competitors' 



Pads- 
Chamois. Fencing 
Sliding. Base Ball 
Wrestling 

Paint. Golf 

Pants- 
Base Ball 
Bathing. Knee 
Boys' Knee 
Running 

Pennants. College 

Plastrons. Fencing 

Plates- 
Base Ball Shoe 
Home 

Marking. Tennis 
Pitchers' Box 
Pitchers' Toe 
Teeing. Golf 

Platforms. Striking B 

Poles. Vaulting 

Polo. Equestrian 

Polo. Roller. Goods 

Posts- 
Backstop. Tennis 
Lawn Tennis 



Protectors- 


Shot- 


Abdomen 


Athletic 


Base Ball Body 


Indoor 


Base Ball Bruise 


Skate Rollers 


Indoor Base Ball 


Skates. Roller 


Thumb 


Slippers, Bathing 


Pulleys and Axle. Tennis 


Squash Goods 


Push Ball 


Standards- 


Pushers- 


Vaulting 
Volley Ball 


Chamois 


Leather 


Straps- 


Puttees. Golf 


Base Ball 




For Three-Legged Rac« 




Spikes. Cncket 




Steel Cable. Tennis Net 




Sticks. Polo 


Racket Covers 


Stockings 


Racket Presses 


Stop Boards 
Striking Bag* 
Stumps and Bails 


Rackets. Lawn Tennis 


Rackets Restrung 


Racks. Golf Ball 


Suits- 


Rapiers 


Gymna'm, Women's 


Reels for Tennis Posts 


Swimming 


Referees' Whistle 


Supporters — 


Rings- 


Ankle 


Exercising 


Wnst 


Swinging 


Suspensories 


Roque 


Sweat Band 


Rowing Machines 


Sweaters, 




Swivels. Striking Bag 




Swords- 




Duelling 


Quoits 


Fencing 




Take-OfT Board 




Tape- 




Adhesive 


Sacks, for Sack Racing 


Cricket. Measuring 


Sandow Dumb Bells 


Marking. Tennis 


Score Books- 


Measuring Steel 


Base Ball 


Tees. Golf 


Basket Ball 


Tether Tennis 


Cricket 


Tights- 


Golf 


Athletic 


Tennis 


Full 


Score Tablets. Base Ball 


Full. Wrestling 






Shirts- 


Foe Boards 


Athletic 




Base Ball 


Trousers. Y.M.C.A 


Training 


Trunks- 


Shoes- 


Bathing 


Acrobatic 


Velvet 


Base Ball 


Worsted 


Basket Ball 


Tug-of-War Belt 



Bowling 

Clog 

Cricket 

Cross Count 

Field Hocke 

Fencing 

Golf 

Gymnasium 

Jumping 

Outing 

Running 

Squash 

Street 

Tennis 

Walking 



Wands. Calisthenic 
Watches. Stop 
Water Wings 
Weights. 56-lb. 

Whistles. Referees' 
Wrestling Equipment 
Wrist Machines 



PROMPT ATTENTION GIVEN TO 
ANT COMMUNICATIONS 
' ADORESSEO TO US 



A. G. SPALDING &. BROS 

STORES IN ALL LARGE CITIES 



FOB COMPLETE LIST OF STORES 
SEE INSIDE FRONT COVER 
OF THIS BOOI © 



Pnc.s .n effect January 5. 1915 Subject to change without no tic*. For C»D»di»o pricos *«• ipocwl CinxiiMi Caul of uk 



Standard Policy 

of Dual Profits, the manufacturer is oHI^id ^ ~V meet these conditions 

price on his goods to the consumer § * * pro P° rtlo ^tely high list 

a^vf^s^ j^onfag, to figure out 

absolutely essentia ; but their real nurnn J w f A u gh llst .P»ces are 

wh.ch vary with local trade conditions * " g Spec,al Amounts," 

and Vh"tbbir £££# ta as fet ^tCrn^'^"!^'"™ 

en.ng and degrading of the quality of his product ' V ' Z " the cheap " 

A G S e nS eg01 K 0nA j 0nsbeca r so int °lerable that 16 years ago in 1899 
||^e?f„ & d?n^S^ra^ 

The Spalding Policy" eliminates the jobber entirely so far a« <^ IJ- 

assured a fair and legitimate profit on all Spaldfng XSle ic Goon, li .k" 
consumer is assured « >Su -dard Quality and is'protected tmiSpos, ion^ ^ 
users ff A^^ P i7» d ^^ w ^ e lnterest ■»«* Paction of the 

M> S «.-The user is assured of genuine Official Standard Athletic Goods 
Second.— As manufacturers, we can proceed wifK ™„fiJ 

purchasing at the proper time, the ve^elfla^materids required 
in the manufacture of our various goods, well ahead of .If; 
respective seasons and this enables us to provide the necessarl 
quant,ty and absolutely maintain the Spalding* Standard of Sty 

PrlC All S a o a S ld m,lar /°? dS arG 8 °! d f ° r » °- Ne " S ChT c ago n and other sto™ 
In other words, The Spalding Policy" is a "square deaTfor everybody 

A. G. SPALDING & BROS. 



By (Z<$kdfi&^*^f. 

PRESIDENT. \S 



Standard Quality 

An article that is universally given the appellation "Standard'* is therehv 
conceded to be the criterion, to which are compared all other tf»n« f i 

nature. For instance, the Gold Dollar of the United S toe. s me S. A T 

and the fact of Us being Genuine is guaranteed by the Government Stamn 
hereon. As a protection to the users of this currency agamst counterfeiting Zd 
other tricks cons.derable money is expended in maintaining a Secret SerXe 
Bureau of Experts. Under the law. citizen manufacturers must de P end7o a 
great extent upon Trade-Marks and similar devices to protect themselves agamst 
counterfeit products-without the aid of "Government Detectives' o''P u bl c 
Opinion to assist them. ruonc 

Consequently the "Consume,-, Protection" again,, misrepresentation and 

'tZSZ ~* -** "^ "" *-* ^ '—*»" 

.hi«^' C ' SP! ' ldin8 & Br ?\ h « ve ' b " ** 'is.ro,. attention to "Quality." for 
two'rH asTc " , '"J T.,ade.M,rk '° b — ^own ,h,„„ 8 ho u 
S S W Cn"en a ;tsfnir fi n ei" " ^ " ^""^ " ** « " *• 
The necessity of upholding the Guarantee of the Spalding Trade-Mark and 
maintaining the Standard Quahty of their Athletic Goods. 18 . merefore a obv: 
ousas is the necessity of the Government in maintaining a Standard Currency 
Thus each consumer is not only insuring himself but also protecting other 
consumers when he assets a Reliable Manufacturer in upholding his T ad" 
Mark and all that „ stands for. Therefore, we urge all users of our Athletic 
Goods to assist us in m. mtaining the Spalding Standard of Excellence by 
msrstmg that our Trade-Mark be plainly stamped on all athletic goods which 
Lnd l {^T" ^ ° Ut thlS Precaut '° n our best efforts towards maintaining 
Standard Quality and preventing fraudulent substitution will be ineffectual 

Manufacturers of Standard Articles invariably suffer the reputation of being 

^zitr- : T m r is tostered and empiwe d * ■»■«<«• °* 

infenor goods, w-th whom low pnces are the main consideration. 

A manufacturer of recognized Standard Goods, with a reputation to uphold 

turer a orr mee ^"T "? "^^ haVC hi ^ P^es than a manufac- 
turer of cheap goods, whose idea of and basis of a claim for Standard Quality 
depends principally upon the eloquence of the salesman. 

™vL ekn ° W , f r m eX J PerienCC J that there » no quicksand more unstable than 
poverty ,n quahty-and we avoid this quicksand by Standard Quahty. 




LIBRARY 




ATHLETIC 



A separate book covers every Athletic Spor 
and is Official and Standard 
Price 10 cents each 



GRAND PR1ZI 




GRAND PRIX 



; ,, 9 o4 SPALDING par. 
ATHLETIC GOODS 

ARE THE STANDARD OF THE WORLD 



A.G. Spalding ® Bros. 

MAINTAIN WHOLESALE and RETAIL STORES in the FOLLOWING CITIES 
NEW YORK CHICAGO ST. LOUIS 

BOSTON MILWAUKEE KANSAS CITY 

PHILADELPHIA DETROIT SAN FRANCISCO 

NEWARK CINCINNATI LOS ANGELES 

ALBANY CLEVELAND SEATTLE 

BUFFALO COLUMBUS SALT LAKE ( 

SYRACUSE INDIANAPOLIS PORTLAND 



ROCHESTER * 

BALTIMORE WASHINGTON 
LONDON. ENGLAND 

LIVERPOOL. ENGLAND 
BIRMINGHAM. ENGLAND 
MANCHESTER, ENGLAND 
EDINBURGH. SCOTLAND 
GLASGOW, SCOTLAND 



PITTSBURGH MINNEAPOLIS 
ATLANTA ST. PAUL 

LOUISVILLE DENVER 
NEW ORLEANS DALLAS 
MONTREAL. CANADA 
TORONTO. CANADA 
5 PARIS. FRANCE 

D SYDNEY. AUSTRALIA 



\rits owned and operated hyA.G.Spaldmj? & Bros, and where *"* f J* a 'f< n / 
2 Marked Athletic Good I are made are located tn the following c,U_es 



CHICAGO SAN FRANCISCO CHICOPEE, MASS. 
BROOKLYN BOSTON PHILADELPHIA LONDON. ENG. 



